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Speaker 1: Right now, the world radio premiere of the new single

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from f This is called My Prettiest Mistake.

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Speaker 2: You're listening to wumin world premiere.

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Speaker 3: And in a mod and that it's warming outside. I'm

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craving a cars following that WROP this night a shirt

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of the better.

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Speaker 4: But I expect to suit guys. Oh, I was to

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gather the oh okays.

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Speaker 5: They not.

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Speaker 6: Let me.

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Speaker 5: Have a made you pro My priend is missed.

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Speaker 4: They found my person.

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Speaker 3: Take me back to the mom kid stock.

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Speaker 7: Side that I loved, sides fast to the spot change

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in my mom talk lead men.

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Speaker 8: Have a miss.

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Speaker 4: From Oh tell me what I'm missing?

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Speaker 3: Somebody took my position and cass that's boy.

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Speaker 4: Your sister away. I can listen a Hobey card you

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think in one day I by them that the sorta

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out and riding.

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Speaker 5: They find no.

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Speaker 9: Way to ficture that sell me a says somebody took

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about the session. It jas us by your sister the

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way with the actual listen hob becaud till one day

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I'm not done there that the song I'm riding, They

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find the way.

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Speaker 5: The fitture.

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Speaker 1: Right now, the world radio premiere of the new single

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from Tuesday Night whites. This is called time.

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Speaker 2: You are listening to W M and H World Premiere, Black.

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Speaker 10: Sye on the window sill he works in his phones

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eights some people still in mind, name and days where

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he shot out the seventh son, the black south of

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half his days.

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Speaker 6: Can't remember the dreams he used.

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Speaker 10: To parade by signs don up, just remember to fire

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the gun.

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Speaker 6: He said. Time is like a mind you step to

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send you up, but you.

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Speaker 11: Far too good for this out saw the phone looked,

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because you're far too talk through this town, because you're

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far too taught first town.

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Speaker 6: Does she dream of.

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Speaker 10: A better life while love came first to as a

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family strife on the bath? Does he chose seems not

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bounce the fire within? Does she face with those things

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on small though sadly Salmas on the factory floor that

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she believes as up Remember it a load the gun,

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she said, Time is like him mind.

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Speaker 6: You was there to send you, but you far too

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cut through solf.

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Speaker 12: Sot look your program this time.

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Speaker 5: Protra time.

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Speaker 13: Because time is like you can't monthy start to send you,

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but you far to go for this time. Because time

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is like you can't mindy start ton snd you you

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far to go for this time.

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Speaker 14: So don't mutter. She falls you go s soun don't look.

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Speaker 12: Cause you fot sa don't sound don't.

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Speaker 15: Because you don't spy sound myself, because you don't prefer yourself.

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Speaker 5: She said, time's gonna turn.

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Speaker 12: My f canste the sound me to mister.

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Speaker 14: My field.

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Speaker 16: You're listening to Matt Connerton Unleashed on wm n H

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ninety five point three.

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Speaker 1: Now it's the American radio premiere of the Way We're

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Rolling by Lydia. Ready, I can not act this.

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Speaker 4: I like that.

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Speaker 17: It doesn't matter out of the week because I exist

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for me. I can walk or I can't trash. It

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doesn't matter other way because I talk for me.

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Speaker 12: Chatter sense shuts my purpose.

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Speaker 6: You are so perfect, even if you don't over it.

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Speaker 17: Oh my beer co comment shoulder all the way I'm commenting,

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And this is just the.

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Speaker 4: Way we're rolling. This is just the way we're rolling.

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I can sit down, no stand up top. That is

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just the way it's kind of go. So I'll be

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me and you'll be you.

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Speaker 17: That is what we've kind of you to try to

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get through you chats with sister shuts my purpose.

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Speaker 8: You are some perfect even if your dog, call my

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pelf common.

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Speaker 5: Shoulder all the way I comfort that this is just

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the way were rolling. Yeah, this is just the way

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we're rolling.

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Speaker 6: Yeah.

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Speaker 17: Yeah, someone just hurt you.

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Speaker 18: This will hurt you.

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Speaker 17: Turn over, think kid, They don't you, sir, know that

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you'll come through everything there you do be your own person.

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Speaker 12: Thereby for you.

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Speaker 5: Ye livel follow you. You gotta leave.

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Speaker 12: Shadsman, sisir shots my cother.

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Speaker 19: You're some perfect even if your jo told a a

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peep on the shoulder for the way I covered.

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Speaker 12: Jenas Jess.

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Speaker 5: If you don't know, oh show and this is just

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the lad.

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Speaker 1: This is just the la.

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Speaker 4: This is just the la.

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Speaker 16: You are listening to macconnorton Unleashed on wm n H

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ninety five point three.

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Speaker 1: And finally, the American radio premiere of the new single

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from Kyle Gordon. This is called She Chose Me.

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Speaker 20: If the skies are gray, when the day is night,

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I can't find my way. If the day is night,

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it's homeless. Let me shine your skies part of me.

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I still on the stand. We sing that every night,

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all the hiving time. We don't always get it right.

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Speaker 8: Don't know my dog no, no, don't know why she

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chugs me.

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Speaker 5: Why sh't chose me.

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Speaker 4: If you're far away?

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Speaker 20: When the day is nine, I remain the same, just

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like black and why we should not a summer?

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Speaker 21: Just why I mean to.

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Speaker 14: The part of me.

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Speaker 20: I still don't understand we had in bed e men.

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No need to turn up the line. Always share it time.

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We don't always get it right. I just want to

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get it right.

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Speaker 5: It's not.

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Speaker 8: No, no, she jumps me.

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Speaker 5: Don't take the siss.

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Speaker 22: The spect speaking set spect.

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Speaker 8: Step outside of such.

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Speaker 1: Welcome everybody, Here we go. It is that time again,

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Matt Connorton Unleashed and we are live bringing you a

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bunch of new music to start the show today, and

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you might hear that again later in the show. Of course,

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we've got the next few hours with you if you

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are listening live on Saturday morning. Matt Connorton Unleashed from

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the studios of wm n H ninety five point three

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FM and Glorious man Esther in New Hampshire. Today is

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a Saturday, September thirteen, twenty twenty five, and I am

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not alone.

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Speaker 23: Jenny, Good morning, Sunshine.

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Speaker 1: Jenny is here at the news table four. I am yes, yes,

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covered from my last week to DC yes, thank you,

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and uh, we got a couple of other fine people

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here in studio with us. Get those mics up here. So,

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one of whom has been on the show recently, Caleb Dyer, returns. Hello, Caleb, Hello, Hello,

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welcome back. It is good to see you.

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Speaker 21: Yeah, good to see you as well.

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Speaker 1: And you brought with you someone whose music we recently

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did a world radio premiere for. Yes, Santino Demante is here.

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Speaker 21: Hello.

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Speaker 1: Now that I know, now that I know how to

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say your name correctly, I apologize. I think the day

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we premiered the song, I was saying Demante.

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Speaker 21: It works not out, but it's Demanty perfect.

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Speaker 1: Yes, yes, So I'm glad we cleared that up, because

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I do try to get everyone's names correctly. I know

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what it's like to have people struggle with, you know,

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because my last name is very unusual. So in fact,

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in high school, my nickname was Canarton because the first

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day of school, the teachers they would, you know, they'd

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do the roll call and they'd get to my name

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and they'd inevitably they would all say Canarton, And so

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all my friends just started calling me that. But man,

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I got so used to it that even today, if

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someone mispronounces it, it takes me a second to remember

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to correct them right because I'm so used to it.

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But we did the world radio premiere for your debut single, Yes,

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Summer in the Sky, not only your first single as

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a solo artist, correct, but the inaugural release on Hatchet At.

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Speaker 23: It's a mouthful hatchet acs and saw. But yes, it

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was our very first release. We're very proud of it.

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There's hopefully much more to come from the company. And yeah, no,

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I mean we poured our heart and soul into it.

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We we finished that tune in thirty days, which was

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an accelerated schedule for sure. Yeah, but we we put

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in just as much time and care and attention as

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we would any other project. And yeah, it came I

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thought it came out excellent. I could hear every element

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that I wanted to in it, and yeah, yeah, yeah.

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Speaker 1: The production is great.

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Speaker 21: Thank you.

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Speaker 1: How involved are you so you're you're completely Why do

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you do? Do you engineer the track?

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Speaker 23: And so for this, for this particular project with Tino,

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it was it was just Santino and myself. I was

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the principal engineer and then after we you know, got

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the tracks, after we recorded everything. We really sat down

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and we got to you know, putting a mix on

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it and getting the levels correct, and then you know,

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through to the mastering process. We did everything in house.

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Originally when the when the company was founded, we originally

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thought that we were going to have to kind of

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outsource some of the mastering, Yeah, just just to make

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things easier on us. But we purchased some software and

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we're imminently gonna be probably purchasing some more hardware that

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will make it even easier for us to do everything

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in house.

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Speaker 1: So that's something I didn't realize. So you so you

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mastered this?

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Speaker 21: Yes?

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Speaker 23: This was uh, I mean well it was actually cooperatively

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I would say, mastered by Santino and myself. He was

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still involved down to the wire, right, right, so when

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we finished the tune. Uh, Santino was the person who

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made the final edits. So well, yes, I did apply

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the the effectuation right, the compression and equalization on the

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main you know, it was tweaked and it was dealt

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with by both of us.

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Speaker 1: Okay, okay, outstanding, And uh, now what's kind of the plan,

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like do you have more?

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Speaker 21: Are you?

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Speaker 1: Are you just gonna release more singles? Or do you

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have an album or an EP and the works or what.

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Speaker 21: I would like to do?

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Speaker 18: So right now plan we have an EP for next

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spring probably excellent, excellent, So we're gonna spend some time

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work on that and spend some time this time.

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Speaker 23: Yeah, it's going to be a little bit more drawn out,

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and I don't know exactly how many songs that it

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was four or five, five I believe, and in one

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of one of those songs will be recycling of somewhere

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in this Guy, So it's four additional and then somewhere

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in this Guy will be re released with the cool

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EP collection. So yeah, and there might be slight changes

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but I don't think very much will change concerning it.

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You never know, you never know, right, Yeah, we're going

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to obviously, when we release any collection of works, we

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listen back to each of them to make sure not

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only there's cohesivity between you know, each song, but that

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there's you know, continuity, right, that it feels good listening

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to it as if it was an album, right, you know.

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And and now I understand EPs can be diverse and

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you don't have to do that, but there is definitely

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a sort of theme if you will, Yeah, yeah, and.

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Speaker 1: And something too that you know, you and Jesse when

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when you and Jesse Rutstine were here, you very clear

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that with with the label Hatchet Acts and saw I

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did it, I do. Jenny's heard me trip on it

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a thousand times that that uh, you know, you're you're

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really taking your time. And actually we were talking about

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it a little bit off air too before the show.

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You're really uh committed to making sure that everything's right.

242
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It's not just because sometimes people start something like a

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label or some other endeavor and they, uh, you know,

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they just kind of throw a lot of stuff against

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the wall and see what sticks.

246
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Speaker 23: Very very haphazard. This this company certainly not doing that.

247
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The first two artists we signed, Santino and then Sarah Bird,

248
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who's actually one of Santino's colleagues, played with uh with

249
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Santino yesterday with Dog a Dog excellent and you know

250
00:22:45,680 --> 00:22:48,319
Sarah's tune. I can't wait to release that to the world.

251
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It's so musically interesting really and actually so in the

252
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same way where I principally engineered and you know, mixed

253
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and assisted with mastering Tino's tune, Jesse is to be

254
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working with Bird. So this is kind of we divide

255
00:23:03,519 --> 00:23:06,799
the labor right now kind of in this way, some

256
00:23:06,960 --> 00:23:10,160
of the mixing and mastering on birds tune might be me.

257
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I don't know exactly you know what's going to happen

258
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right now because they haven't finished tracking everything just yet.

259
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But once all is finalized, then you know, we have

260
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the discussion of like, okay, how we move forward. And

261
00:23:23,839 --> 00:23:27,160
in every instance, the artist is the principal creative director

262
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of course, this is this is how it goes, and

263
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we have to as producers, we have to effectuate the

264
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artist's intent. So you know, if I'm brought in to

265
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do anything, it's going to be with Bird. It's going

266
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to be with her as kind of directing me, guiding me.

267
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You know, what she wants in the tune. I've listened

268
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to the tune plenty, but you know I can't be her,

269
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I can't be in her mind. So I need to

270
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and that that's part of doing this I what I

271
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consider to be the right way, where you know, there

272
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are many recording companies and stuff where they will tell

273
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the artists like, oh, you need to write something that's saleable,

274
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you need to write something that that we you know,

275
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feel strong and confident in promoting and we frankly just

276
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don't care. Will you know, if it's original, if it's

277
00:24:12,799 --> 00:24:14,799
if it if we think it's good, if we think

278
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that the musicality is there, will produce it, and you know,

279
00:24:18,799 --> 00:24:22,440
we we'll we'll follow your direction. And I think that

280
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is something that is sorely lacking and missing in our

281
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musical culture in general. Yea, you know there to some degree,

282
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once you have enough money, you can buy creative freedom

283
00:24:33,240 --> 00:24:36,000
of us. There's a lot of there's a lot of

284
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creative direction that that comes in some of these companies.

285
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We're entirely antithetical.

286
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Speaker 1: Yeah, no, I think that's that's excellent. Well, I think

287
00:24:43,799 --> 00:24:45,960
we should let's play the track Summer in the Sky

288
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for anyone who hasn't heard it yet. And of course

289
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this is out on all the streaming platforms and everything,

290
00:24:50,119 --> 00:24:52,759
and anything we should know before we play it, anything

291
00:24:52,759 --> 00:24:55,279
we should know about the song itself. Uh, Santino, do

292
00:24:55,279 --> 00:24:56,160
you have anything you want to.

293
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Speaker 18: It's a it's a tribute to Brian Wilson. Yeah, you know,

294
00:25:00,119 --> 00:25:02,240
well I want to do something for him. I'm not

295
00:25:02,359 --> 00:25:04,359
normally a singer, but I tried it for this one.

296
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And you know, we'll see how that goes. But I

297
00:25:06,839 --> 00:25:08,680
just wanted to I want to just make something for

298
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him because he only passed away in July. And yep,

299
00:25:11,079 --> 00:25:13,359
that's really it's just a feel good uh tune. I

300
00:25:13,359 --> 00:25:15,279
don't even notice about It's about summer.

301
00:25:16,359 --> 00:25:17,960
Speaker 1: My favorite time of year. So I I like, of

302
00:25:18,079 --> 00:25:21,519
course the sky right, very good. So without further ado,

303
00:25:21,640 --> 00:25:23,359
we'll give this a spin and then we'll come back

304
00:25:23,359 --> 00:25:25,319
and talk with these guys some more. But here it is.

305
00:25:25,400 --> 00:25:28,240
This is Summer in the Sky, Santino Demanti.

306
00:25:42,359 --> 00:26:12,160
Speaker 5: The sound of the music, Mother, Mother, it s the snore,

307
00:26:17,960 --> 00:26:27,880
so the snore, So.

308
00:26:29,359 --> 00:26:36,240
Speaker 8: Go away with the dream sons, Roddy, the dreams, the

309
00:26:36,440 --> 00:26:41,960
Indian perfect. I did dreams that the day abouts did

310
00:26:43,599 --> 00:26:48,559
the shoe streams the same season stream mollen Stone.

311
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Speaker 6: But that thing.

312
00:26:56,799 --> 00:27:13,920
Speaker 5: So it's sun.

313
00:27:08,799 --> 00:27:22,960
Speaker 23: Stop so in the store, so.

314
00:27:24,519 --> 00:27:50,519
Speaker 5: Stops and stop.

315
00:27:56,279 --> 00:28:13,599
Speaker 1: So scot, Oh, that is so good, Summer in the Sky.

316
00:28:13,839 --> 00:28:14,079
Speaker 21: Thank you.

317
00:28:14,480 --> 00:28:18,160
Speaker 1: The debut release from Santino Demonti, and of course the

318
00:28:18,440 --> 00:28:21,839
debut release from Hatchet Acts and Saw Records. And we

319
00:28:21,960 --> 00:28:25,039
have both the Santino and Caleb Dyer from Hatchet Acts

320
00:28:25,079 --> 00:28:26,640
and Saw See Now that I can say.

321
00:28:28,559 --> 00:28:30,480
Speaker 21: At I know it is. It is a mouthful.

322
00:28:31,680 --> 00:28:33,160
Speaker 1: No, it's a great name though. I love it. I

323
00:28:33,240 --> 00:28:36,000
love it, and uh, you and you and Jesse shared

324
00:28:36,039 --> 00:28:37,880
how you came up with the name and everything, uh

325
00:28:37,960 --> 00:28:40,000
when you were on and that was that was really interesting.

326
00:28:40,079 --> 00:28:43,759
But I'm also so I'm curious about the production of

327
00:28:43,960 --> 00:28:46,559
the track because you know, it's got that you know,

328
00:28:46,599 --> 00:28:48,759
it's got an old school vibe, you know, and as

329
00:28:48,839 --> 00:28:51,759
you said, Santino, it's a tribute to Brian Wilson in effect.

330
00:28:53,440 --> 00:28:56,799
How hard was it to get because that's that's a

331
00:28:56,880 --> 00:28:59,240
tricky thing, right, to get that that kind of sound

332
00:28:59,359 --> 00:29:02,319
and that vibe vibe without screwing it up. Because you

333
00:29:02,440 --> 00:29:04,319
got it. You want to get that sound in that vibe,

334
00:29:04,400 --> 00:29:07,599
but you also need to make it sound you know,

335
00:29:07,759 --> 00:29:09,319
right modern.

336
00:29:09,119 --> 00:29:14,400
Speaker 23: In the wise words of SpongeBob technique. Technique technique. It's

337
00:29:14,440 --> 00:29:17,400
all about technique. And if you know how these things

338
00:29:17,480 --> 00:29:21,519
were originally done, you can reverse engineer them. Okay, It's

339
00:29:21,599 --> 00:29:24,119
it's pretty pretty much that simple. I will say we

340
00:29:24,240 --> 00:29:27,160
did on some things we used more modern techniques. So

341
00:29:28,039 --> 00:29:30,799
for example, the drum captures are not recorded in the

342
00:29:30,839 --> 00:29:33,480
same way that they would have been recorded back in

343
00:29:33,519 --> 00:29:37,279
that time. But that was done deliberately because we wanted

344
00:29:37,319 --> 00:29:42,039
to add certain textures and overlay things. So there were

345
00:29:42,160 --> 00:29:45,400
certain things that were not kind of those old techniques,

346
00:29:45,440 --> 00:29:47,400
but actually a lot of what we did for the guitars,

347
00:29:49,240 --> 00:29:51,960
like the signal chains, a lot of what we did,

348
00:29:52,759 --> 00:29:55,119
you know, on the actual mastering of it, the actually

349
00:29:55,200 --> 00:29:57,720
the software emulations that we use, because you know, we

350
00:29:58,039 --> 00:30:01,400
are working digitally for the vast majority of everything, with

351
00:30:01,480 --> 00:30:05,519
the exception of the actual signal going into the digital path.

352
00:30:05,640 --> 00:30:09,000
But even on the digital side, the software emulations that

353
00:30:09,039 --> 00:30:11,480
we were using were very much tools or emulations of

354
00:30:11,559 --> 00:30:14,880
tools that would be from that era, and some of

355
00:30:14,960 --> 00:30:17,240
them sounded better than others. So we we you know,

356
00:30:17,359 --> 00:30:21,960
gravitated towards what to our years felt right, but really

357
00:30:22,000 --> 00:30:24,440
it was it was technique. That's really just it. If

358
00:30:24,480 --> 00:30:27,839
you again, if you know how they did it, you

359
00:30:27,880 --> 00:30:28,839
can reverse engineer it.

360
00:30:29,039 --> 00:30:29,319
Speaker 21: Okay.

361
00:30:29,640 --> 00:30:32,759
Speaker 1: Yeah, Is that the most challenging thing you've done as

362
00:30:32,839 --> 00:30:33,599
far as recording?

363
00:30:33,640 --> 00:30:36,960
Speaker 23: Oh no, not even close. No, really, ok yeah, I

364
00:30:37,759 --> 00:30:41,559
mean it's of as of late, it's uh, it's you know,

365
00:30:42,000 --> 00:30:44,359
it's more interesting. But I would say the most challenging

366
00:30:44,440 --> 00:30:48,200
things to record was some of my own stuff and

367
00:30:48,359 --> 00:30:51,039
and and I mean none of that's been released, but yeah,

368
00:30:51,119 --> 00:30:54,960
that's a that's a totally different discussion. Yeah, but yeah,

369
00:30:55,200 --> 00:30:59,519
some of that was was extraordinarily difficult to kind of

370
00:30:59,599 --> 00:31:03,359
get what it should sound like because you know, the

371
00:31:03,599 --> 00:31:07,200
different techniques available to you, the different sorts of microphones,

372
00:31:07,400 --> 00:31:11,759
placement of microphones, all different manners of waves of capturing sound,

373
00:31:12,799 --> 00:31:15,039
and then all of the ways to process sound, and

374
00:31:15,119 --> 00:31:17,079
you have to get to get the right sound, you

375
00:31:17,160 --> 00:31:18,880
have to get both of those things correct.

376
00:31:19,920 --> 00:31:23,079
Speaker 1: So Santino, when you did you write the song yourself?

377
00:31:23,160 --> 00:31:27,599
You Yeah, when you came up with the song, did

378
00:31:27,680 --> 00:31:31,319
the did what ended up being the song the finished product?

379
00:31:31,559 --> 00:31:33,720
Did that match what you had in your head?

380
00:31:33,880 --> 00:31:34,240
Speaker 4: Or was it?

381
00:31:34,559 --> 00:31:34,680
Speaker 9: Was it?

382
00:31:34,920 --> 00:31:37,000
Speaker 1: I mean I imagine it was probably even better, right.

383
00:31:36,880 --> 00:31:39,599
Speaker 18: But well so kind of because like I wrote it

384
00:31:39,680 --> 00:31:42,839
on piano like months ago, probably Okay, in my head,

385
00:31:43,119 --> 00:31:45,400
I'd like, you know, one by one kind of like

386
00:31:45,839 --> 00:31:48,240
imagine like what would make sense for it to be there,

387
00:31:48,319 --> 00:31:49,599
or like what I imagine it to be there?

388
00:31:49,640 --> 00:31:49,759
Speaker 21: Right?

389
00:31:49,920 --> 00:31:53,759
Speaker 18: Yeah, And for so long, like such a long time

390
00:31:53,799 --> 00:31:55,960
of having to be able to sort of like process

391
00:31:56,039 --> 00:31:58,400
like what should be there, Like when we started recording it.

392
00:31:58,720 --> 00:32:00,640
I feel like it just kind of fell in place,

393
00:32:00,720 --> 00:32:05,079
and there were elements I think that are different, but

394
00:32:05,599 --> 00:32:06,799
you know, a lot of it was just.

395
00:32:08,359 --> 00:32:08,720
Speaker 21: Very good.

396
00:32:09,119 --> 00:32:09,319
Speaker 4: Yeah.

397
00:32:09,680 --> 00:32:12,119
Speaker 23: It was just what are we feeling? Or actually what

398
00:32:12,279 --> 00:32:14,599
Tina was feeling. Because I didn't play a single note

399
00:32:14,680 --> 00:32:18,920
on this. Everything that was done was Tina And which

400
00:32:18,960 --> 00:32:21,279
is interesting because there there have been people that have

401
00:32:21,519 --> 00:32:24,519
you know, worked with where you know, I've assisted of

402
00:32:24,640 --> 00:32:27,000
done things where you know, like hey, play based on

403
00:32:27,079 --> 00:32:30,359
it or something like that. Yeah, and you know that's cool,

404
00:32:30,440 --> 00:32:33,000
but I try as much as possible, I want the

405
00:32:33,240 --> 00:32:36,960
artist's intent to be effectuated by whatever we're doing.

406
00:32:37,039 --> 00:32:37,200
Speaker 21: Yeah.

407
00:32:37,200 --> 00:32:39,079
Speaker 18: I also think it depends on who comes in with

408
00:32:39,240 --> 00:32:41,640
a specific mindset, like would you like the producer to

409
00:32:41,720 --> 00:32:44,319
take more charge or maybe have someone else add some

410
00:32:44,400 --> 00:32:45,960
more ideas. And I guess since I had so much

411
00:32:46,000 --> 00:32:47,960
time to do nothing else to think of it, it

412
00:32:48,039 --> 00:32:49,640
was so specific, and I thought that just doing it

413
00:32:49,720 --> 00:32:51,480
myself would give it that specific tention.

414
00:32:52,400 --> 00:32:55,319
Speaker 23: He came in with a super clear creative direction and

415
00:32:55,400 --> 00:32:58,759
that made what I was doing easy. I mean, truly,

416
00:32:58,839 --> 00:33:02,079
it was just it was about, Okay, now all I

417
00:33:02,200 --> 00:33:04,119
have to do is on the recording side of it.

418
00:33:04,359 --> 00:33:08,920
Suggests techniques that will effectuate that intent. He told me.

419
00:33:08,960 --> 00:33:10,839
He told me coming in. Basically, it's a tribute to

420
00:33:11,039 --> 00:33:13,759
Brian Wilson, his life and his memory and how it

421
00:33:13,839 --> 00:33:14,880
affected him musically.

422
00:33:15,119 --> 00:33:17,200
Speaker 18: Yeah, yeah, and I will say that to cut you off,

423
00:33:17,240 --> 00:33:19,000
but I just think that the help that you gave

424
00:33:19,079 --> 00:33:21,519
me a singing primarily. I think Caleb is a very

425
00:33:21,599 --> 00:33:24,839
good coach in vocals. I've learned a lot singing from him,

426
00:33:25,519 --> 00:33:27,880
whereas I may have had some things a little more

427
00:33:27,960 --> 00:33:30,240
like you know, experience just doing certain things. But like

428
00:33:30,480 --> 00:33:33,480
I think singing has been a big thing that Caleb

429
00:33:33,519 --> 00:33:34,240
could help anyone with.

430
00:33:34,359 --> 00:33:38,400
Speaker 23: You know, I certainly try. My only musical training is

431
00:33:38,559 --> 00:33:42,039
on voice in the hear. I never was trained on

432
00:33:42,119 --> 00:33:45,200
any of the other instruments or very briefly piano lessons.

433
00:33:45,240 --> 00:33:47,640
But I stopped that when I realized that I knew

434
00:33:47,680 --> 00:33:52,200
more musically than the teacher did, wow, which that is strangely,

435
00:33:52,279 --> 00:33:54,880
and I tried to find I tried to find another teacher,

436
00:33:55,079 --> 00:33:57,680
and I just was kind of disappointed once that I

437
00:33:57,759 --> 00:34:01,960
was seeking out. But with regards to voice and ear,

438
00:34:02,160 --> 00:34:05,519
I mean as my first things that I did was

439
00:34:05,599 --> 00:34:11,079
doing vocal arrangements in high school. And you know, while

440
00:34:11,159 --> 00:34:14,199
I don't really sing very much now, I sing on

441
00:34:14,559 --> 00:34:18,440
my own unreleased things, but I don't sing much anymore

442
00:34:18,880 --> 00:34:20,639
in any of the groups I'm in, except for maybe

443
00:34:20,679 --> 00:34:25,679
some backups. But yeah, I encourage if vocalists are coming

444
00:34:25,719 --> 00:34:29,199
in and doing work with us. I can certainly, and

445
00:34:29,440 --> 00:34:32,639
I'm not gonna be pushy, but some things are universal

446
00:34:32,719 --> 00:34:35,559
in a recorded context, like you need to enunciate, you know,

447
00:34:36,679 --> 00:34:40,800
clear things unless you want to slur your lyrics. But

448
00:34:42,239 --> 00:34:47,320
you know, I yeah, anyhow, I love working with certainly

449
00:34:47,400 --> 00:34:50,679
Santino and anyone else who's coming in to do work

450
00:34:50,719 --> 00:34:54,000
with us, and you know, guide them through the process

451
00:34:54,039 --> 00:34:56,679
of here's how we get the sound right, because you're

452
00:34:56,760 --> 00:34:58,960
creating the sound, but to get it to sound like

453
00:34:59,039 --> 00:35:02,559
you want on our record, it requires a whole separate

454
00:35:02,679 --> 00:35:05,920
set of science and and that's the part that I

455
00:35:05,960 --> 00:35:08,639
think a lot of gigging musicians kind of miss.

456
00:35:08,880 --> 00:35:13,159
Speaker 1: Yeah. Yeah, well said I'm curious sus Santino about uh,

457
00:35:13,719 --> 00:35:15,400
tell us a little bit more about your affinity for

458
00:35:15,480 --> 00:35:16,199
Brian Wilson and.

459
00:35:16,360 --> 00:35:18,400
Speaker 21: Is he is he likely?

460
00:35:18,639 --> 00:35:18,760
Speaker 23: Is he?

461
00:35:19,000 --> 00:35:19,119
Speaker 20: Is he?

462
00:35:19,440 --> 00:35:20,800
Speaker 1: Is he your biggest influence or is he?

463
00:35:21,000 --> 00:35:21,239
Speaker 21: Yeah?

464
00:35:21,360 --> 00:35:25,519
Speaker 18: Yeah, I love Jimmy Page. Definitely Jimmy Hendrix. Oh yeah,

465
00:35:25,639 --> 00:35:28,440
but I mean, uh, fellow left handed guy. I appreciate

466
00:35:28,480 --> 00:35:31,559
Hendricks very much, that's right. But in my last couple

467
00:35:31,559 --> 00:35:35,440
of years, I think I've really, I've really been taken

468
00:35:35,480 --> 00:35:40,320
aback almost by Brian Wilson. Uh, and just his capability

469
00:35:40,360 --> 00:35:43,719
as a as a just all around musician, I guess,

470
00:35:43,920 --> 00:35:48,639
and arrange your composer things like that. Yeah, and yeah,

471
00:35:48,719 --> 00:35:51,199
like I never heard anything, you know, like like it

472
00:35:51,320 --> 00:35:53,480
before a lot of people know the Beach Boys for

473
00:35:53,760 --> 00:35:56,360
kind of the surf rock thing, but uh, there's really

474
00:35:56,440 --> 00:35:58,400
really complex arrangements.

475
00:35:57,920 --> 00:36:02,679
Speaker 21: That he's done. Like if you listen pet sounds sound speaking.

476
00:36:02,400 --> 00:36:06,519
Speaker 23: Of vocal arrangements, Speaking of vocal arrangements, I mean, I've

477
00:36:06,800 --> 00:36:09,119
said this for some time and I can't take credit.

478
00:36:09,199 --> 00:36:11,800
I don't know who can take credit for saying this first.

479
00:36:11,880 --> 00:36:15,039
But the Beach Boys weren't so much a surf rock

480
00:36:15,119 --> 00:36:18,360
group as they were like a barber shop quartet, exactly

481
00:36:18,480 --> 00:36:21,639
rock band behind him and and it you know, that

482
00:36:22,079 --> 00:36:25,400
stuff is magical. I mean, very few people are trying

483
00:36:25,440 --> 00:36:28,480
to do anything like that anymore. And when Fantino came

484
00:36:29,159 --> 00:36:31,079
with this project and he's like, I want to do

485
00:36:31,199 --> 00:36:34,719
some crazy vocal stacks as of someone who you know,

486
00:36:34,840 --> 00:36:37,360
comes from a vocal arranging background. And I didn't even

487
00:36:37,400 --> 00:36:39,920
have to arrange it, right, Yeah, I didn't even have

488
00:36:40,000 --> 00:36:41,960
to do any of this. He just comes in there

489
00:36:42,000 --> 00:36:44,239
and he hears all the notes in the harmonic series

490
00:36:44,320 --> 00:36:45,960
that he wants to hit, and he's just like, all right,

491
00:36:46,000 --> 00:36:46,400
there it is.

492
00:36:46,639 --> 00:36:49,320
Speaker 18: Yeah, man, it's just it's a fun time. It's just

493
00:36:49,440 --> 00:36:52,039
it's fun more than anything, you know, to put something

494
00:36:52,079 --> 00:36:54,559
out there, you know, it means a lot. So I'm

495
00:36:54,599 --> 00:36:55,760
appreciative for sure.

496
00:36:55,920 --> 00:36:58,400
Speaker 1: Had you ever done anything like this before, because obviously,

497
00:36:58,480 --> 00:37:00,280
you know you've done other projects and well and minute

498
00:37:00,320 --> 00:37:02,559
we'll talk about the other the band that you guys

499
00:37:02,639 --> 00:37:06,199
have together, But had you ever done anything like that

500
00:37:06,400 --> 00:37:09,360
before that? That really kind of serves as such a

501
00:37:09,559 --> 00:37:11,320
fantastic tribute to Bran Wilson.

502
00:37:11,559 --> 00:37:11,800
Speaker 21: Thank you.

503
00:37:13,159 --> 00:37:16,199
Speaker 18: I've written tunes, you know, for this purpose. Well, I

504
00:37:16,239 --> 00:37:18,800
guess in that regard, But this is the first time

505
00:37:19,079 --> 00:37:23,360
that I've recorded it with a good friend of mine

506
00:37:23,400 --> 00:37:25,280
in a good studio. You know, I think I've recorded

507
00:37:25,559 --> 00:37:28,360
a billion demos and stuff, you know, anything like that, even.

508
00:37:28,239 --> 00:37:33,480
Speaker 23: Demos with mego we we have some songs together. One

509
00:37:33,559 --> 00:37:35,480
of them I think is going to get resurrected as

510
00:37:35,519 --> 00:37:38,039
a song for Crank and Wagon pretty soon when tune

511
00:37:38,079 --> 00:37:43,159
called the Fugitive, which I think is gonna eventually appear

512
00:37:43,239 --> 00:37:46,559
on a concept album that Paul Fry is dreaming up

513
00:37:46,599 --> 00:37:50,840
in his head. It's a collective effort, but it's definitely

514
00:37:50,920 --> 00:37:54,280
mostly his creative vision in terms of the story, and

515
00:37:54,400 --> 00:37:56,440
we're just following that intent because we think it's a

516
00:37:56,480 --> 00:38:00,880
good idea. Yeah, we actually just did a show yesterday

517
00:38:01,039 --> 00:38:05,000
at Wormtown out in Greenfield, mass We played the set

518
00:38:05,079 --> 00:38:07,880
and it was space themed and the theme of the

519
00:38:08,320 --> 00:38:10,320
just to this was as Crank and Wagon. Yes, this

520
00:38:10,760 --> 00:38:13,840
Cranking Wagon where I play orgon for the listeners out there.

521
00:38:13,880 --> 00:38:17,079
I play organ and occasionally some electric piano and stuff,

522
00:38:17,320 --> 00:38:21,440
and mister Santino Demante plays percussion and drums, and Paul

523
00:38:21,480 --> 00:38:25,760
Fries the guitar, and we had Nick Vortruba from Bass Sabbath,

524
00:38:25,800 --> 00:38:27,880
which I'm wearing their shirts for all the all the

525
00:38:27,920 --> 00:38:31,880
people watching out there wearing Bass Sabbath. He's in a

526
00:38:32,079 --> 00:38:33,800
very nice tribute band, but he played bass with us

527
00:38:33,920 --> 00:38:37,039
yesterday and it was fantastic. Oh wow, I you know,

528
00:38:37,280 --> 00:38:39,960
I hope, uh, I hope he does more with us.

529
00:38:40,039 --> 00:38:42,679
But even if even if not, even if it was

530
00:38:42,760 --> 00:38:44,519
just a one off, it was still an excellent gig,

531
00:38:45,039 --> 00:38:45,599
a great gig.

532
00:38:47,280 --> 00:38:49,440
Speaker 1: Well, I'm curious to know more about because I haven't

533
00:38:49,440 --> 00:38:51,719
actually heard crankin Wagon, so I'm curious to just to

534
00:38:51,760 --> 00:38:53,039
know more about it, like what's.

535
00:38:53,360 --> 00:38:53,960
Speaker 23: Like, what is it?

536
00:38:54,159 --> 00:38:58,159
Speaker 18: It's a good fusion of like rock and some progressive

537
00:38:58,199 --> 00:39:01,480
elements too. Oh yeah, yeah, so it makes is I

538
00:39:01,559 --> 00:39:05,639
think it blends like maybe simpler rock and roll with

539
00:39:05,760 --> 00:39:09,360
like a good interesting, sort of different flair. And you're

540
00:39:09,400 --> 00:39:10,880
really a big part of the music in that, So

541
00:39:10,920 --> 00:39:12,559
I think you could even attest to more of that,

542
00:39:12,880 --> 00:39:15,480
you know, I think, you know, in my.

543
00:39:15,719 --> 00:39:19,199
Speaker 23: View, and you know, Paul has his own influences that

544
00:39:19,280 --> 00:39:21,519
he brings to the table, but in my view, the

545
00:39:21,760 --> 00:39:27,679
influences that I'm bringing are sort of that seventies progressive rock, Emerson,

546
00:39:27,760 --> 00:39:30,199
Lake and Palmer. Of course, I'm a massive Keith Emerson fan.

547
00:39:31,159 --> 00:39:33,920
Yesterday we covered a deep purple tune. We covered Space

548
00:39:33,960 --> 00:39:38,280
Truck in Nice, which was heavy, man, absolutely heavy, And

549
00:39:38,599 --> 00:39:42,039
you know, I'm a massive John Lord fan. Yesterday at

550
00:39:42,119 --> 00:39:45,000
the gig, I wore a Boston shirt. Tom Schultz is

551
00:39:45,000 --> 00:39:47,840
another musical hero of mine on the organ, and I mean,

552
00:39:47,880 --> 00:39:50,679
if you listen to that music, you know, if you

553
00:39:50,880 --> 00:39:52,440
listen to all of that in the way that the

554
00:39:52,719 --> 00:39:57,519
organ drives it in his central to the rock and

555
00:39:57,679 --> 00:40:01,480
roll and the classical elements. Even yesterday we opened up

556
00:40:01,519 --> 00:40:04,079
the show with Son Andolfgang, but Tay God stalls. We

557
00:40:04,559 --> 00:40:08,679
opened up a rock show with a classical piece, right,

558
00:40:09,280 --> 00:40:14,599
and you know, like you you don't hear that in

559
00:40:15,480 --> 00:40:19,480
like I've I've literally in the last decade, I've not

560
00:40:19,679 --> 00:40:24,000
heard another band doing something musically ambitious like that. And

561
00:40:24,079 --> 00:40:27,679
then the way that we plan transitions between songs and

562
00:40:27,800 --> 00:40:30,079
everything else we do is original. We usually throw in

563
00:40:30,159 --> 00:40:32,639
one cover for the people, but everything else we do

564
00:40:32,760 --> 00:40:36,519
is original. And I mean we play with the time signatures.

565
00:40:36,599 --> 00:40:39,679
We you know, even do some tempo play as well,

566
00:40:39,719 --> 00:40:41,760
where we kind of will drag things and be a

567
00:40:41,800 --> 00:40:44,880
little bit timmy whimy, But it's all deliberate. It's not

568
00:40:45,559 --> 00:40:47,639
it's not like it was not meant to be there.

569
00:40:47,719 --> 00:40:52,880
It's very very meticulously placed and and that I think

570
00:40:53,000 --> 00:40:56,800
is what separates that musical group from a lot of

571
00:40:56,880 --> 00:41:01,400
other ones that you'll hear it's it's just very it's

572
00:41:01,599 --> 00:41:04,239
very deliberate, very composed.

573
00:41:04,719 --> 00:41:06,679
Speaker 1: Now, how long has Crank and Wagon been around? How

574
00:41:06,719 --> 00:41:07,400
long have you been?

575
00:41:07,559 --> 00:41:09,679
Speaker 23: Only about a year? I mean a little over a year.

576
00:41:09,719 --> 00:41:13,000
But it's had various forms, and I'd actually like to

577
00:41:14,559 --> 00:41:17,679
show appreciation to some of the past members because I

578
00:41:17,760 --> 00:41:20,079
mean they, you know, they did excellent things with it

579
00:41:20,480 --> 00:41:24,400
and it's just continued on. But the original drummer was

580
00:41:24,599 --> 00:41:27,599
Cam Clark and he's a fantastic drummer. He's continuing to

581
00:41:28,000 --> 00:41:31,679
do other things now, not exactly sure what he's up to,

582
00:41:31,800 --> 00:41:34,280
but Cam Clark was with us, and then for a

583
00:41:34,599 --> 00:41:36,559
period of time earlier this year, we had Chris Drew

584
00:41:37,159 --> 00:41:39,239
play play a number gigs. He's the bass player in

585
00:41:39,400 --> 00:41:42,599
Dog a Dog, which of course it's a natural, natural

586
00:41:42,679 --> 00:41:46,280
flow over for him to be playing with us. Then

587
00:41:46,400 --> 00:41:48,440
we did a three piece gig where it was just

588
00:41:48,599 --> 00:41:51,360
me left handing the bass. Really yeah, yeah, And I

589
00:41:51,440 --> 00:41:54,519
mean that's the cool dynamic thing about the Wagon is

590
00:41:54,639 --> 00:41:56,840
that you know, we can play a gig is a

591
00:41:56,880 --> 00:41:58,800
three piece with no bass player, or we can add

592
00:41:58,840 --> 00:42:01,800
a bass player and have all of this texture and

593
00:42:02,039 --> 00:42:05,159
you know it, we can do whatever we want to

594
00:42:05,280 --> 00:42:08,199
do musically really yeah, and and and that sort of

595
00:42:08,920 --> 00:42:13,760
creative liberty is I think it's it's getting much more rare.

596
00:42:13,760 --> 00:42:16,760
I think a lot of musicians put themselves into a box.

597
00:42:16,880 --> 00:42:20,199
They don't need to. I think they they think that

598
00:42:20,320 --> 00:42:23,719
all these odd time signatures, these different you know, ways

599
00:42:23,800 --> 00:42:26,599
to feel music and to convey emotion with music. I

600
00:42:26,679 --> 00:42:29,599
think they feel almost like, oh, it's too wacky, it's

601
00:42:29,639 --> 00:42:33,039
too scary, and and like different, and like what if

602
00:42:33,039 --> 00:42:35,239
we don't execute it right? And you know what if

603
00:42:35,280 --> 00:42:37,639
it doesn't And you know, all of these things exist

604
00:42:37,679 --> 00:42:42,559
within musicians heads. They just need to bite in overpower. Yeah,

605
00:42:43,280 --> 00:42:48,280
And you know Crank and Wagon is that it is fearless,

606
00:42:48,519 --> 00:42:51,800
absolutely fearless. You know, we'll we'll have like a nice

607
00:42:51,920 --> 00:42:54,039
rock and groovy section one time, and then all of

608
00:42:54,079 --> 00:42:56,440
a sudden we'll break into five, or we'll break into

609
00:42:56,559 --> 00:42:59,199
seven eight, or you know, or Will will insert a

610
00:42:59,280 --> 00:43:02,400
random measure of nine to eight just because we can

611
00:43:03,360 --> 00:43:07,880
in already an odd time sequence. And and Tino does

612
00:43:07,960 --> 00:43:12,519
exactly what I'm referencing, because he was the one. But

613
00:43:12,760 --> 00:43:15,719
you know, we we just we play with every element

614
00:43:15,800 --> 00:43:19,400
of the music that we can make it interesting. And

615
00:43:19,519 --> 00:43:23,199
something that the listener just doesn't expect, And and that's

616
00:43:23,239 --> 00:43:26,480
what I value in musical compositions, and I know Santino

617
00:43:26,639 --> 00:43:27,119
does as well.

618
00:43:27,159 --> 00:43:31,199
Speaker 18: Absolutely, Yeah, And then what's the plan as far as recording?

619
00:43:32,239 --> 00:43:36,280
Oh so well, hopefully pretty soon. You might know more

620
00:43:36,320 --> 00:43:37,639
than I do actually at this point kind of.

621
00:43:37,639 --> 00:43:39,400
Speaker 23: Sort of, I mean, but we've we've spoken about it

622
00:43:39,480 --> 00:43:41,599
down there, so we have our nice little whiteboard with

623
00:43:41,719 --> 00:43:43,559
our our plans, our evil plants.

624
00:43:44,079 --> 00:43:44,239
Speaker 20: Yes.

625
00:43:44,519 --> 00:43:48,800
Speaker 23: But anyhow, so coming soon is going to be an EP.

626
00:43:49,280 --> 00:43:51,400
I believe it's going to be six songs. It's gonna

627
00:43:51,639 --> 00:43:55,599
contain our self titled track, Crank and Wagon, and it

628
00:43:55,719 --> 00:43:58,920
will have, you know, a few other morsels of things

629
00:43:59,000 --> 00:44:01,360
that people who have seen us live have have already

630
00:44:01,840 --> 00:44:05,320
kind of gotten to know. But it's that's going to

631
00:44:05,400 --> 00:44:08,199
be mostly things that we wrote in the very beginning, okay,

632
00:44:08,760 --> 00:44:11,599
and some one thing I think that was written a

633
00:44:11,599 --> 00:44:15,280
little bit later, But most of it is original sort

634
00:44:15,320 --> 00:44:18,440
of Crank and Wagon, the founding, the genesis of the band,

635
00:44:18,559 --> 00:44:21,840
Paul Frye mostly his direction and writing in those songs.

636
00:44:22,719 --> 00:44:25,800
And then once we complete that, once we put that out,

637
00:44:25,840 --> 00:44:28,440
then we'll set work on the concept album that was

638
00:44:28,480 --> 00:44:31,760
aforementioned that is mostly driven by Paul's creative direction in

639
00:44:31,880 --> 00:44:35,360
terms of the story, but musically, I would say this

640
00:44:35,599 --> 00:44:39,559
is where Santino and I sort of start to get

641
00:44:39,760 --> 00:44:43,920
more aggressive in terms of how we color the ideas

642
00:44:44,000 --> 00:44:49,039
of mister Frya. And in some of the writing is

643
00:44:49,400 --> 00:44:52,320
is Zappa esque, some of it is Emerson, you know,

644
00:44:52,440 --> 00:44:55,079
Keith Emerson and Emerson Lake and Palmer esque, and then

645
00:44:55,159 --> 00:44:58,079
some of it is more in the vein of Paul

646
00:44:58,199 --> 00:45:02,079
Frye and the you know, secure eighties kind of poland

647
00:45:02,239 --> 00:45:05,480
vibe that he is going for. And the name Crank

648
00:45:05,519 --> 00:45:08,599
and Wagon kind of comes for an affinity from this

649
00:45:09,559 --> 00:45:13,239
post World War two sort of Cold War music from

650
00:45:13,679 --> 00:45:16,119
the Eastern Bloc and even actually parts of Western Europe

651
00:45:16,159 --> 00:45:24,000
as well, where it was unique, like not droning music,

652
00:45:24,159 --> 00:45:30,320
but music that was born of the despair of living

653
00:45:30,360 --> 00:45:35,960
in a place that was impoverished, oppressed, where you know,

654
00:45:36,079 --> 00:45:39,880
people didn't have creative freedom. Really if you had it,

655
00:45:39,960 --> 00:45:42,400
it was underground and it was not easy to share.

656
00:45:43,320 --> 00:45:46,880
And that I think inspires all of us, all three

657
00:45:46,960 --> 00:45:50,519
of us in the band, to varying degrees, but the

658
00:45:50,679 --> 00:45:54,159
idea that we use this band as a vehicle for

659
00:45:54,519 --> 00:45:56,960
exactly what we want to put out into the world

660
00:45:57,679 --> 00:46:01,400
and that no one's going to tell us how we

661
00:46:01,840 --> 00:46:04,280
should do it. And if you like it, you like.

662
00:46:04,360 --> 00:46:08,280
If you don't, you don't. But it is definitely it's

663
00:46:08,400 --> 00:46:11,840
not your stereotypical standards straight up rock and roll. It's

664
00:46:12,119 --> 00:46:13,480
very out there, right.

665
00:46:14,719 --> 00:46:14,920
Speaker 21: Yeah.

666
00:46:15,679 --> 00:46:17,360
Speaker 1: How often does Crank and Wagen play?

667
00:46:17,400 --> 00:46:18,280
Speaker 21: Do you? Guys play a lot?

668
00:46:18,960 --> 00:46:22,840
Speaker 23: Fairly and frequently really, And that's deliberate. We're trying to

669
00:46:24,039 --> 00:46:27,159
what we do when we play live. We're trying to

670
00:46:27,760 --> 00:46:31,719
theme our sets. So the last several shows we've had

671
00:46:31,800 --> 00:46:34,840
have had different themes that we've stuck to. So when

672
00:46:34,920 --> 00:46:37,039
we the last show we did prior to this, it

673
00:46:37,159 --> 00:46:40,480
was Jurassic Park themed, Oh Wow, and we did the motif.

674
00:46:40,559 --> 00:46:45,320
We played the John Williams motif in three different keys

675
00:46:45,440 --> 00:46:48,559
throughout the throughout the sets so that we would transition

676
00:46:48,840 --> 00:46:52,400
seamlessly into other songs. But we we did that John

677
00:46:52,440 --> 00:46:56,639
Williams motif and that again, like rock bands that will

678
00:46:56,719 --> 00:47:01,199
just put John Williams into their sets like that, it

679
00:47:01,440 --> 00:47:05,119
just you don't hear about that. It doesn't happen, and

680
00:47:05,280 --> 00:47:09,360
we just do it because we can because musically we

681
00:47:09,480 --> 00:47:13,320
all have the ability, and we think it serves the songs,

682
00:47:13,400 --> 00:47:17,840
it serves the set and delivers a creative and interesting

683
00:47:17,960 --> 00:47:21,360
product to the people who are there in the audience.

684
00:47:21,519 --> 00:47:25,880
And we don't want to we don't want to be

685
00:47:26,119 --> 00:47:28,840
delivering just sets where it's like stopping in between every

686
00:47:28,960 --> 00:47:32,800
song and you know, we're like leaving dead air. We

687
00:47:32,960 --> 00:47:36,800
want to be really making people surprise. It's like, oh,

688
00:47:36,880 --> 00:47:40,039
they went into that song immediately, like what, how do

689
00:47:40,119 --> 00:47:42,840
they even do that? And we want to create that

690
00:47:43,119 --> 00:47:46,360
magic and to do that we need more time in

691
00:47:46,440 --> 00:47:48,480
between shows. We need to be able to construct the

692
00:47:48,559 --> 00:47:51,679
sets really meticulously, get them where we want them to be.

693
00:47:51,760 --> 00:47:54,880
And it's the same as recording. It's like, you know,

694
00:47:55,360 --> 00:47:58,039
Santino's well aware of this led Zeppelin as a band,

695
00:47:58,400 --> 00:48:01,480
and I would argue a lot of it is is

696
00:48:01,920 --> 00:48:06,360
much more musically simple, especially the earliest stuff, but there

697
00:48:06,480 --> 00:48:08,480
was a lot of the stuff from led Zeppelin that

698
00:48:08,599 --> 00:48:12,719
they took a long time in between to really get

699
00:48:13,000 --> 00:48:17,519
what they wanted for a musical idea right and feeling

700
00:48:17,679 --> 00:48:20,239
the way that they want to convey that emotion, and

701
00:48:20,440 --> 00:48:23,199
that is so important when you're doing something that is

702
00:48:23,480 --> 00:48:24,360
musically intricate.

703
00:48:24,920 --> 00:48:28,800
Speaker 1: But yeah, now that's that's really interesting to the concept of,

704
00:48:28,920 --> 00:48:31,880
you know, making every show, you know, have a theme

705
00:48:32,000 --> 00:48:33,840
and have it be different because that I don't I

706
00:48:33,880 --> 00:48:35,239
can't think of anyone who really does that.

707
00:48:35,679 --> 00:48:36,840
Speaker 21: Yeah, there's the top of my head.

708
00:48:36,840 --> 00:48:38,440
Speaker 1: I can't think of any Yeah, there are some.

709
00:48:38,920 --> 00:48:41,719
Speaker 23: Some bands that do themed shows and things like that,

710
00:48:42,119 --> 00:48:44,320
and you know, bands that will dress up and costume

711
00:48:44,360 --> 00:48:47,239
to do it. Sure where maybe the show itself, the

712
00:48:47,320 --> 00:48:51,400
music itself is not themed, but but just the idea.

713
00:48:51,639 --> 00:48:53,840
I forget when it was when we kind of started

714
00:48:53,920 --> 00:48:56,079
doing that, but it was earlier this year, for sure.

715
00:48:56,119 --> 00:48:57,320
It was at the beginning of this year, and I

716
00:48:57,360 --> 00:48:59,840
think Paul just are just like, hey, let's do this

717
00:49:00,159 --> 00:49:02,960
theme for Strange Creek, and we just dressed up that way.

718
00:49:03,000 --> 00:49:06,360
We didn't really do much musically. Yeah, I guess we

719
00:49:06,639 --> 00:49:08,400
put take Me Out to the Ballgame as an intro

720
00:49:08,599 --> 00:49:12,519
for our first song called America's Pastime, which which is

721
00:49:12,519 --> 00:49:16,760
a little bit of a play on words. But anyhow,

722
00:49:17,599 --> 00:49:19,800
So we do things like that where we you know,

723
00:49:19,920 --> 00:49:23,239
we inject interesting ideas and we try to make the

724
00:49:23,480 --> 00:49:25,440
listener and the person who's in the audience think a

725
00:49:25,480 --> 00:49:28,039
little bit more about the music because We've thought a

726
00:49:28,239 --> 00:49:29,400
lot about the music.

727
00:49:30,480 --> 00:49:34,480
Speaker 1: Yeah, now that's fantastic. When is the next Cranking Wagon show?

728
00:49:34,800 --> 00:49:36,559
Do you have something coming around?

729
00:49:36,599 --> 00:49:41,480
Speaker 23: So the Wagon? The Wagon is coming to I think

730
00:49:41,480 --> 00:49:44,079
we're playing October tenth and eleventh. I think tenth is

731
00:49:44,119 --> 00:49:48,400
in Rhode Island. I forget the exact venue. Sorry, sorry

732
00:49:48,480 --> 00:49:51,480
to the listeners. October eleventh, though, is at Ralphs Rock

733
00:49:51,519 --> 00:49:54,039
and Diner and Worcester and I believe we're going to

734
00:49:54,079 --> 00:49:57,440
be playing with Bass Sabbath. That show is actually not

735
00:49:57,559 --> 00:50:00,679
going to be super themed. However, we are going to

736
00:50:00,760 --> 00:50:04,800
be doing some of the music of Pink Floyd We

737
00:50:05,159 --> 00:50:07,039
One of the covers we used to do, which we've

738
00:50:07,119 --> 00:50:10,719
kind of left out of recent sets was Sid Barrett

739
00:50:10,880 --> 00:50:13,760
Eric Floyd we did. I was the name of that?

740
00:50:13,960 --> 00:50:14,159
Speaker 9: In the.

741
00:50:15,679 --> 00:50:20,360
Speaker 21: It went, uh, I forget the name. The name, Oh

742
00:50:20,480 --> 00:50:23,639
my god, something a cat.

743
00:50:25,440 --> 00:50:25,639
Speaker 5: Yeah.

744
00:50:26,159 --> 00:50:31,760
Speaker 23: The lyric, yeah, it's in F sharp. I know all

745
00:50:31,800 --> 00:50:36,840
the notes, something about like a devil. No, I forget

746
00:50:36,880 --> 00:50:37,559
what the name of it is.

747
00:50:38,519 --> 00:50:40,760
Speaker 21: Not thinking, I can't believe.

748
00:50:40,840 --> 00:50:42,760
Speaker 23: I can't even quote the song, and I can play

749
00:50:43,559 --> 00:50:47,440
Lucifer Yes, Yes, Lucifer Sam Yes, early Sid Barrett aera

750
00:50:47,480 --> 00:50:50,559
Floyd So we're probably gonna reincorporate that along with some

751
00:50:50,760 --> 00:50:55,679
other Pink Floyd classics that you know well. But so

752
00:50:55,800 --> 00:50:57,400
that that show is a little bit of a one

753
00:50:57,440 --> 00:50:59,719
off where we're doing more covers than we would normally do,

754
00:51:00,440 --> 00:51:02,800
but we will still play originals and uh, you know

755
00:51:02,920 --> 00:51:04,519
that the focus is always on the original.

756
00:51:04,840 --> 00:51:07,760
Speaker 1: Yeah, so excellent. And what about playing Summer in the

757
00:51:07,800 --> 00:51:10,559
Sky out like, did you if you had a chance

758
00:51:10,639 --> 00:51:12,960
to play that out live? Or what what's their plans

759
00:51:13,000 --> 00:51:15,039
to or I haven't thought about that.

760
00:51:15,360 --> 00:51:19,400
Speaker 18: Yeah, so I mean I would like to assemble the

761
00:51:19,440 --> 00:51:21,079
band of some time next year and maybe do some

762
00:51:21,360 --> 00:51:23,280
some stuff like that, But for now, I'm just really

763
00:51:23,480 --> 00:51:26,320
enjoying the recording of it and make sure it's a

764
00:51:26,360 --> 00:51:28,440
good polished thing. And yeah, you know, in time, I

765
00:51:28,480 --> 00:51:29,719
think it's totally possible, you know.

766
00:51:29,960 --> 00:51:32,559
Speaker 23: Yeah, there's a lot of elements on that and to

767
00:51:32,679 --> 00:51:35,119
do to do it live, to do it live without

768
00:51:35,199 --> 00:51:37,159
horns or strings would be would be very.

769
00:51:37,039 --> 00:51:40,760
Speaker 18: Difficult thing as possible, but definitely uh something to plan out,

770
00:51:40,920 --> 00:51:41,480
and you know.

771
00:51:41,559 --> 00:51:44,320
Speaker 1: It'd be hard to you know, I mean, if if pressed,

772
00:51:44,400 --> 00:51:46,079
you could pull out an acoustic guitar.

773
00:51:46,000 --> 00:51:50,119
Speaker 23: Exactly to do the harmony vocal stacks on it and

774
00:51:50,239 --> 00:51:51,920
to really to really get the feel of.

775
00:51:52,960 --> 00:51:55,480
Speaker 18: Yeah, getting a band together to do it somewhat justice

776
00:51:55,559 --> 00:51:58,079
is totally possible even without things like you know, vocal

777
00:51:58,119 --> 00:52:01,280
stacks or or strings, oorns or whatever. But yeah, it's

778
00:52:01,320 --> 00:52:03,360
just it's finding the groove of it and finding everyone's

779
00:52:03,400 --> 00:52:04,320
place in it, you know.

780
00:52:04,599 --> 00:52:04,840
Speaker 1: Yeah.

781
00:52:05,039 --> 00:52:07,679
Speaker 21: So yeah, totally is something that could happen for sure.

782
00:52:07,800 --> 00:52:10,199
Speaker 23: Yeah yeah, I mean we certainly know people who are

783
00:52:10,760 --> 00:52:13,760
musically good enough to make that happen about that doubt

784
00:52:13,920 --> 00:52:14,880
so absolutely Yeah.

785
00:52:16,039 --> 00:52:16,239
Speaker 21: Yeah.

786
00:52:16,360 --> 00:52:18,280
Speaker 1: Uh, well, A time goes quickly, guys, and I do

787
00:52:18,400 --> 00:52:19,760
want to play I think we're going to play that

788
00:52:19,880 --> 00:52:22,440
song once more once more to end the segment.

789
00:52:22,599 --> 00:52:23,719
Speaker 21: O great, great, thank you.

790
00:52:24,719 --> 00:52:27,119
Speaker 1: What is there anything? Guy's got a lot going on.

791
00:52:27,199 --> 00:52:28,559
I do want to make sure though, is there anything

792
00:52:28,599 --> 00:52:30,360
coming up that you want to mention that we didn't.

793
00:52:30,119 --> 00:52:33,400
Speaker 23: Talk about or well, I will say, if you're local

794
00:52:33,440 --> 00:52:36,000
to New Hampshire and you want to come see me tomorrow,

795
00:52:36,119 --> 00:52:38,400
I'm going to be in Milford, New Hampshire doing a

796
00:52:38,440 --> 00:52:42,159
blues jam something totally different. Wow, we open open everyone.

797
00:52:42,199 --> 00:52:44,880
I do that with Craig Thomas the second Sunday of

798
00:52:44,880 --> 00:52:48,000
every month out at Riley's Place in Milford, Okay, and

799
00:52:48,400 --> 00:52:51,239
it's a fantastic jam. You can pretty much come and

800
00:52:51,480 --> 00:52:55,480
play anything, though it is more blues focused, and I

801
00:52:55,559 --> 00:52:57,719
would love to see people there and play with you

802
00:52:58,480 --> 00:53:01,920
because I love meeting all kinds of local musicians, especially

803
00:53:01,960 --> 00:53:06,519
people were passionate about crazy and wild music. But yeah,

804
00:53:06,679 --> 00:53:07,960
come on out have some fun.

805
00:53:08,320 --> 00:53:09,119
Speaker 21: That that's me. I know.

806
00:53:09,239 --> 00:53:10,639
Speaker 23: Tino's got his own schedules.

807
00:53:10,719 --> 00:53:13,960
Speaker 18: So yeah, after yesterday the show we played, we were

808
00:53:14,000 --> 00:53:17,159
talking about earlier, we're finally getting a nice break. So

809
00:53:18,159 --> 00:53:20,480
as of now I can't think of anything. So I

810
00:53:20,559 --> 00:53:22,920
get to maybe sleep a little bit or record some more.

811
00:53:23,039 --> 00:53:25,400
So yeah, but maybe I'll check out that blues jam

812
00:53:25,480 --> 00:53:26,239
that Caleb's doing too.

813
00:53:27,639 --> 00:53:29,679
Speaker 1: You know what's funny as on a side about Milford,

814
00:53:30,400 --> 00:53:33,320
So Milford for for for people listening online from other

815
00:53:33,360 --> 00:53:37,800
parts of the country, Milford, New Hampshire, it's just this town.

816
00:53:37,960 --> 00:53:40,400
It's not like a big metropolitan area, right, It's just

817
00:53:40,480 --> 00:53:42,840
a small town in New Hampshire. But for whatever reason,

818
00:53:43,360 --> 00:53:45,920
like Milford comes up on the show all the time

819
00:53:46,440 --> 00:53:49,440
and it sounds like like there's just a lot going

820
00:53:49,519 --> 00:53:52,559
on There's it's so weird.

821
00:53:52,719 --> 00:53:56,000
Speaker 23: It's like, there's so many there's so many places in town,

822
00:53:56,079 --> 00:53:59,079
in that town that have live music. And it's because

823
00:53:59,199 --> 00:54:02,360
the people in and around that little kind of part

824
00:54:02,400 --> 00:54:05,159
of that valley, sow he Can Valley just they love

825
00:54:05,400 --> 00:54:08,119
local music and they love all kinds of different stuff.

826
00:54:08,159 --> 00:54:10,599
But I will say they do it for proclivity to blues,

827
00:54:10,800 --> 00:54:13,400
no question. Yeah, the age and the demographic there's a

828
00:54:13,440 --> 00:54:18,360
lot for blues musicians there, but yeah, for just about everything.

829
00:54:18,440 --> 00:54:21,679
They have so much diverse wild Yeah, it's great. It's

830
00:54:21,719 --> 00:54:22,440
awesome to see.

831
00:54:22,599 --> 00:54:25,119
Speaker 1: Yeah, it is, Yeah, it is. Yeah, you don't expect it,

832
00:54:25,159 --> 00:54:29,199
but yeah, Milford comes up all the time on the show, Caleb.

833
00:54:29,239 --> 00:54:30,920
Where is the best place for people go online to

834
00:54:31,000 --> 00:54:33,480
keep up with everything that Hatchet Acts and Saw Records

835
00:54:33,559 --> 00:54:33,840
is doing?

836
00:54:34,360 --> 00:54:37,039
Speaker 23: Hatchet Action Saws on Facebook. We do not yet have

837
00:54:37,119 --> 00:54:40,559
a website, but you can find us on Facebook Hatchet

838
00:54:40,559 --> 00:54:43,119
Actions and Saw Records, And I believe we're getting some

839
00:54:43,280 --> 00:54:46,000
other social set up where you know, we're a little

840
00:54:46,000 --> 00:54:48,920
bit slacking on the socials, but we are. We're not

841
00:54:49,039 --> 00:54:49,880
slacking on the music.

842
00:54:50,000 --> 00:54:50,679
Speaker 1: Oh that's for sure.

843
00:54:50,800 --> 00:54:51,360
Speaker 21: That's for sure.

844
00:54:51,440 --> 00:54:54,960
Speaker 1: Yeah. Yeah. And Santino, where should people go? Well, the

845
00:54:55,199 --> 00:54:57,039
single of course, is on all the platforms right, all

846
00:54:57,039 --> 00:54:59,679
the streaming platforms, somewhere in the sky. Where else should

847
00:54:59,679 --> 00:55:01,280
people go to keep up with everything that you're doing?

848
00:55:02,480 --> 00:55:06,440
Speaker 21: I have I have a Facebook page, Instagram page. Is

849
00:55:06,519 --> 00:55:06,840
my name?

850
00:55:07,079 --> 00:55:09,599
Speaker 18: Yeah, yeah, there's the basic things for sure. You want

851
00:55:09,599 --> 00:55:11,400
to spell your last name for people who don't, Yes,

852
00:55:11,800 --> 00:55:15,559
D E, capital M O N T E. Very good

853
00:55:16,199 --> 00:55:19,440
and now I know how to say it tracktly. Guys,

854
00:55:19,519 --> 00:55:21,360
this has been wonderful. Thank you both so much. Thank

855
00:55:21,400 --> 00:55:22,519
you great.

856
00:55:22,599 --> 00:55:24,639
Speaker 1: Absolutely, we'll definitely do this again in the future, and

857
00:55:24,679 --> 00:55:26,920
I think too, we're gonna We're gonna see Caleb on

858
00:55:27,000 --> 00:55:28,920
the podcast version of the show at some point in

859
00:55:29,000 --> 00:55:32,719
your future too. But we will end this segment with this.

860
00:55:32,800 --> 00:55:34,760
We're gonna play this again, Summer in the Sky, the

861
00:55:34,840 --> 00:55:38,079
debut single from Santino di Monty as a solo artist

862
00:55:38,159 --> 00:55:40,480
on Hatchet Acts and Saw Records. So this is really good.

863
00:55:40,519 --> 00:55:42,039
If you missed it earlier, we're gonna play this again,

864
00:55:42,159 --> 00:55:44,280
and if you are listening live on Saturday. Coming up

865
00:55:44,599 --> 00:55:47,880
next hour, we have Keith sam Land and his project

866
00:55:48,000 --> 00:55:51,199
Alien Stone. He's going to be joining us via Microsoft Teams,

867
00:55:51,559 --> 00:55:53,400
so really looking forward to talking with him. He's got

868
00:55:53,440 --> 00:55:56,840
a really interesting sound. Uh so uh, there is plenty

869
00:55:56,920 --> 00:55:58,639
more to come, but right now here it is summer

870
00:55:58,679 --> 00:56:07,239
in the sky. This is Santino Demantis.

871
00:56:04,199 --> 00:56:08,400
Speaker 8: And sounder dating that so long by pussion that's in

872
00:56:08,559 --> 00:56:13,159
the un stain, and the sound so rogan.

873
00:56:13,280 --> 00:56:17,760
Speaker 5: It colors the world. But the sound of the music play.

874
00:56:19,400 --> 00:56:23,679
Speaker 8: And up gown and borrow they running up. That's a

875
00:56:24,000 --> 00:56:44,239
long sound scorn, and it's another. It is sun in

876
00:56:44,400 --> 00:56:44,800
the sky.

877
00:56:52,440 --> 00:57:00,679
Speaker 5: Scor so.

878
00:57:02,199 --> 00:57:03,679
Speaker 8: Go away with the dream.

879
00:57:04,119 --> 00:57:12,039
Speaker 19: The sons of Rod, the dress, the deific prefet to

880
00:57:12,480 --> 00:57:18,079
dreams that the dams, the huge streams.

881
00:57:17,679 --> 00:57:22,639
Speaker 5: The same season stream woman stone face.

882
00:57:22,800 --> 00:57:23,159
Speaker 12: But that.

883
00:57:29,639 --> 00:57:33,920
Speaker 6: So s.

884
00:57:39,559 --> 00:57:55,800
Speaker 5: The sun in the snore song in the store, So.

885
00:57:57,360 --> 00:58:21,400
Speaker 8: Snot so.

886
00:58:23,000 --> 00:58:29,199
Speaker 12: S S.

887
00:58:30,800 --> 00:58:31,239
Speaker 21: S called

888
00:58:37,039 --> 00:58:37,079
Speaker 23: S