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Speaker 1: The class victims of the I A t.

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Speaker 2: D A sky a skys cos he foss go.

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Speaker 1: See the court montage.

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Speaker 2: Enough to starve.

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Speaker 3: And what you said?

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Speaker 1: So I live in the said.

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Speaker 2: In the call blood states, think of the living another

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rebel chase.

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Speaker 1: They're not a bad don't pass them about the time.

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Speaker 2: Said, I'm as side said.

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Speaker 1: To said.

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Speaker 3: Times.

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Speaker 4: First of all, then the poets are massing.

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Speaker 1: Then the response upon.

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Speaker 4: The pot desire.

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Speaker 2: To that excel still then I said the walk. Now

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I'm not aside the days time, the money gives above the.

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Speaker 1: Seas, that the world and just get wet. Anything better

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than this, continue to love. Then I'm a man.

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Speaker 4: That's like the worst phone connection ever, Tom, Are you

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there yonder? Okay? For some reason, there's like this, uh

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strange sound in the background. But I think we can

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live with it. Well, at least we can hear each other.

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Speaker 5: I don't know what that would be, but yeah, I

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don't know.

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Speaker 4: Do you hear that? Do you hear like a buzzing

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in the background.

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Speaker 5: Well, that could be h just the airflow, but that's

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down in the basement. I mean, I'm surprised it's traveling

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that far. I'm on the first first floor.

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Speaker 6: Yeah, that's all right, though.

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Speaker 4: We can hear you. You're you're nice and you're coming

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through nice and clear or so, so that's that's what matters.

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Speaker 5: Shut it off. I can shut it off if you

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give me a second.

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Speaker 4: Oh okay, okay, no problem, if you are just joining us.

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Tom Modern is calling in because the skype thing did

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not work out. But uh, I actually really like that

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song Toxic Man. What Tom does, if you are listening,

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is unconventional. He's very unique. His music is very unique.

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So I'm quite curious to speak with him. But he's

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going to go and try to shut off whatever is

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causing that sounds like angry bees. O, hey, this should

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be better, all right, Tom? Hey, so how do you

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describe your music? I'm really curious let's start there, because

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what you're doing, and obviously I'm not the only one

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to say this to you, what you're doing is very unique.

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I cannot think of anyone who I mean, there might

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be some influences there that we can talk about, but

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I haven't heard anyone who sounds quite like you. So

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I'm really curious. How do you describe your music to

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someone who's never heard it?

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Speaker 7: Uh?

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Speaker 5: I would say it's a galectic. It's influenced by a

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lot of different artists, and it's you know, it's organic

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in the sense that i'd I like to play a

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lot of different instruments, but I would probably it's been

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tough to categorize, but I would at times I would

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call it art pop or post wave.

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Speaker 4: Yeah, or.

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Speaker 5: Uh, prog pop Okay, some prog influences there. It's difficult though.

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They don't have the right categories for artists these days

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that they really need a few more.

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Speaker 4: You mentioned you play multiple instruments. Do you play everything

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on these tracks?

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Speaker 5: Is that all you on some of the tracks? Yes,

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I've played everything, but there were four or five guest

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musicians on the on the album. I try to use

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as many people as I can. It's just, you know,

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it's sometimes it's tough getting people and because I I

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grew up playing guitar and but I always had a

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piano and a drum machine in my house, so it

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was sort of natural too. Just learn those instruments a

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little bit as well. Sure, sure, yeah, so it's coming handy.

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Speaker 4: Yeah.

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Speaker 5: Yeah.

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Speaker 4: The album is called now this is one of those words.

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I don't know if I can say it correctly on

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the first stride out, I will try performical? Am I

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saying that correctly?

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Speaker 5: Yeah, that's correct. Yeah, performical.

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Speaker 4: Yeah, performical. Is that a real word or is that

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your word?

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Speaker 5: It's a made up word. Just I don't know. It

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came to me one day and it was just that said,

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you know that that's the album, that's the title, performical.

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Speaker 4: Well what is it?

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Speaker 5: I think it comes go ahead, No, no, I was.

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Speaker 4: Just going to ask you what does it mean? I mean,

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obviously it's a made up word, but what does it

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mean to you?

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Speaker 5: I think it came from, uh, sort of an aberration, uh,

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from my performing I performed in New York for many

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years and I tended tended to be somewhat theatrical, and

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I would use props and costumes to help interpret the

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music as and that just you know, just I don't know,

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somehow joined into the word. You know, well, I don't

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want word that would be end with cl maybe but

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al festival or you know, so just naturally sort of

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adapted to performicle.

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Speaker 4: Yeah, yeah, and you've got this is obviously a full

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length album. What went into the decision to release us

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as a full length and I asked that because and

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this is kind of one of those questions I ask anybody,

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because I'm always curious. We live in a time, as

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you know, where there are so many different ways that

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you can release music, different strategies. Some artists only release singles,

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some release EPs, Some will release a series of singles

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that eventually become an album. But wasn't an important to

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you to release Perfronicle as an album? Is there is

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there some sort of a cohesive theme running throughout these

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songs or is it just or did it just seem

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natural to do it this way?

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Speaker 5: No, there was really no cohesive theme. I mean, all

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the songs are very different if you look at it

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from the outside. Yeah, but it became clear to me

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to be taken serious as a serious artist, you really

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have to release an album. I mean I was just

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releasing singles for a while and that just wasn't cutting it.

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And I looked around at all the other artists who

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are working, and they're not doing that, They're releasing albums.

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So I was like, yeah, that's what I have to do.

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And so I pulled back and all the other stuff

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and just sank my energy into this release. And you know,

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hoping for the best. Released in September of this year,

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and I actually tried releasing it once before, but I

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wasn't happy with some of the recordings, and so I

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re recorded some of the tracks because I was just

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learning digital recording years ago. Yeah, so along with a

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lot of other people, and so that's the way I

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did it. Yeah, up till now.

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Speaker 4: Yeah, do you where do you record? Do you record

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at home? I mean it sounds like it's it's very

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it sounds like this is very di I wy Do

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you do all of that yourself?

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Speaker 7: Oh?

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Speaker 5: Yeah, definitely. Part of it was recorded in New York.

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Part of it was recorded it's Sampiper Studio is here

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in Cleveland. And part of it was recorded in Los

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Angeles because a couple of the musicians were out there,

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so they were turning in remote pieces. H gee, I

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think it started all I was recording in a storage

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unit in New York, New York City.

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Speaker 4: Oh no kidding, Yeah, it wasn't.

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Speaker 5: It wasn't ideal, but yeah, it's part of it was

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a part of it. God done there.

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Speaker 1: Yeah yeah.

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Speaker 4: Yeah. So so now you're so, are you from New

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York originally?

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Speaker 5: No, from Cleveland originally, but I'm born and raised, but

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I lived in New York about it was about twenty

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eight years.

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Speaker 4: Oh okay, no, it's a long time in terms of

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the music scene. And because again you're doing something that's unusual.

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Like I said, I can't think of anyone who sounds

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quite like you. What was it like to do what

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you do in New York? I assume that that if

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there's anywhere in the country where you can do pretty

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much just about anything you can think of musically, and

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you're going to find some sort of an audience, right,

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people are going to be interested. I would think that

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New York City would be kind of the best place

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to do something that is unusual and still be accepted

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and have people want to participate in it and be

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interested in it. Am I is my instinct correct about that,

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And that's not to suggest that you don't have that

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in Cleveland, but I assume in New York that's where

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you really have that the most, where you can you

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can create whatever you want to and there's going to

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be some sort of audience for it. Am I Am

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I correct in that.

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Speaker 5: Oh, yeah, that's that's true. For the most part. You

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can do anything in New York and somebody will relate

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to it. Yeah, but it's tough as well. I mean,

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a lot of the clubs in New York that you play,

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it's you know, it's the lot of them ask you

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how many people you bring in? You know, that kind

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of thing, and it's just like, well, I'm just trying

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to do this thing, man. I mean I'm not I'm

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too busy. I'm not responsible for getting people through the door.

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And a lot of the clubs really have to start

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getting people in the old fashioned way, you know, when

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people went to clubs and bars and stuff and you know,

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whoever was playing was playing.

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Speaker 2: You know.

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Speaker 5: Now they want you to be the marketer too, and

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it's just like, well, you know, wow, too many things

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to do, you know. So yeah, it can be tough too.

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But you can do whatever you want to New York

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and let's see how it goes, you know.

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Speaker 4: Basically, Yeah, do you still perform live? Do you perform

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live in Cleveland?

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Speaker 5: My last show was last November. Actually, now I haven't

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really been performing here. It's probably even tougher here because

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Cleveland's it's mostly cover cover bands and tribute bands and

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and ben and if you're original, there's less places and

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they really want bands here right now, I'm more of

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a solo artist or perform as a duo, maybe with

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a percussionist or something. So it's been tough here. So

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I really started focusing on the recording. That's what I'm

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doing now. I'm really laser focused on the recording. Because

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when you at a certain point, if an artist has

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you know, two, three, four albums in his head, I mean,

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you know, he's really got a buckle down and get

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to work. You know, he's this performing is great for

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the ego, But I mean, what what what corporeal thing

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do you have? The whole lot to you, it's really

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the recordings.

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Speaker 4: You know, right right? Has your sound changed over the years,

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I assume it has. I assume it's changed and evolved.

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Speaker 5: Oh definitely. A few years ago I founded a prog

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band in New York City called Arta, and we were,

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you know, just hard hardcore prague, you know, yeah, performing,

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and uh so I decided to come out of the

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dry ice and the flog a little bit and warm

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up a little bit. And then I got I got

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to worry and now more like you know, the the

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synth pop, the prog pop, art pop, whatever you want

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to call it maybe a little bit avant guarde avant guard,

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a clue, you know, whatever you want to call it.

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Speaker 4: Yeah, there's that. There's a term too that people use

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a lot, experimental indie, which is almost kind of a

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catch all for anything that's for anything that's unusual that

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you wouldn't hear on commercial radio. But you don't you

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don't really know what to call it. But but yeah,

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I mean it's always hard to label these things, which

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I think is a good thing when you're when you're

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doing something that is hard to label because it's, like

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I said, it's something that, uh, that is unique. Has

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it has that always been important to you to do

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something that's unusual, or have you ever played in in

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just kind of a standard rock band, or has it

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always been your, uh, your goal to do something that's

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that's outside of the mainstream.

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Speaker 5: Consciously? No, I think it maybe comes from, you know,

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listening to all those bands and having an influence, being

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influenced by all those bands, but not really listening to

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a lot of music. I mean, when you're busy with

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your own music all day. Yeah, by five o'clock, you

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don't want to hear anymore news when it hurts to

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hear music. Yeah, realistically. Yeah, And so I think just

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naturally morphs into your own sound that way, rather than

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you know, well I'm gonna I mean, of course, just

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some times it's like I want to do something different here,

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and you know, sometimes it works, sometimes it doesn't. But

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I think it just naturally evolves, you know, that's the

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best way anyway.

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Speaker 4: You mentioned too when you were in New York, so

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you would use a lot of props during your show.

250
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Speaker 5: Oh yeah, Like if you look at the the the

251
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cover of the album Performical, there's three series of pictures there.

252
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Rum I'm actually removing a space helmet that I used

253
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to come out in a space helmet and I would

254
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stand there and then slowly move my arms in the

255
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position and slowly remove the hell helmet and just stand

256
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there for a minute.

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Speaker 6: Yep.

258
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Speaker 5: And you know, that was just one of the props

259
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of the Society's game I think you played before. I'd

260
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come out in just a little thing, a little accent

261
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to you know, help interpret the song. I would come

262
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out in a captain's hat. You know, sometimes it wasn't

263
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I don't really like full to get into full costume,

264
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you know. Changes. I think it's a bit much, but

265
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you can use little things and sometimes you can throw on,

266
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you know, a little half a costume, you know, to

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help help interpret the piece.

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Speaker 4: Yeah, yeah, I'm looking at the I'm looking at the

269
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cover right now actually for Perfromical, so I can see

270
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what you're talking about with removing the helmet. And yeah,

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that's cool personally, I love that kind of thing. I love,

272
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uh seeing theatrics and and uh oh yeah. Yeah. Are

273
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are there any videos on YouTube of you performing live?

274
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Speaker 5: There's a couple few, they're a little bit scattered, but yeah,

275
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there's a couple things out there. I think there's one

276
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from the the old Metropolitan Room. Yeah, it's more of

277
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a cabaret jazz play. So I think I was one

278
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of the few rock artists that was allowed to play there.

279
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Oh no, kidding, Yeah, And there was a couple other

280
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they're scattered though.

281
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Speaker 4: There are videos though, yeah, oh okay, I'll have to

282
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look for those. I'm actually very curious to see you

283
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play live. Would you have you mentioned working with other

284
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musicians on recording when you when you would play live

285
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in New York, for example, did you have other musicians

286
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join you there or because I would imagine this, there's

287
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probably some a bit of a barrier there, right, because

288
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it's not like like a singer songwriter who's just getting

289
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on stage with a guitar. There's a lot of flexibility

290
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there to have other musicians join him or her and

291
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it you know, you can make it work. But I

292
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would imagine for what you do, that's that's probably a

293
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lot more challenging. Or maybe not.

294
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Speaker 5: It can be challenging because getting people's difficult and people's

295
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availabilities are different, so there might not be a lot

296
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of chance for rehearsal time. But I would try to

297
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use musicians whenever I could. I go out with a

298
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bass player, I go out with the drummer. A couple

299
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of times went out with a drummer and a guitar player.

300
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You know, it just depends, you know. You know, people say, well,

301
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you know, put a band together and be in a band.

302
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I mean, you know, I don't know. Sometimes people realize

303
00:20:53,599 --> 00:20:58,400
how hard it is to have five people together and

304
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throwing their hat into the ring, you know, being all

305
00:21:04,920 --> 00:21:08,000
in and going to show up somewhere and here and there,

306
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and you know it's not gonna last very long with

307
00:21:11,599 --> 00:21:17,720
people's you know, needs and availabilities and what they have

308
00:21:17,880 --> 00:21:21,319
to be responsible for and committed to, you know, paying

309
00:21:21,359 --> 00:21:23,920
the rent and all that. You know, Yeah, very difficult.

310
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Speaker 4: It is challenging, I know from my own experience playing

311
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in bands. And we had I wish I could remember

312
00:21:28,759 --> 00:21:30,920
who said it. We had a guest on the show

313
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once who said, being in a band, if you're in

314
00:21:33,440 --> 00:21:36,599
a five piece band, it's like being in a relationship

315
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with four other people at once who are all in

316
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a relationship with four other people at the same time,

317
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And it's it can be very, very challenging. And there

318
00:21:45,880 --> 00:21:49,480
is a certain freedom that I've never experienced myself. I

319
00:21:49,599 --> 00:21:51,839
only ever played in bands. I never did a solo thing.

320
00:21:52,079 --> 00:21:55,079
But there is a certain freedom that comes with sort

321
00:21:55,119 --> 00:21:57,319
of being the captain of your own ship, where you

322
00:21:57,359 --> 00:21:59,440
don't have to depend on anybody else. You know, you

323
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can do it all yourself. And and uh so that's

324
00:22:03,880 --> 00:22:05,559
you know, that must be nice and and so I

325
00:22:05,920 --> 00:22:08,519
I understand, I understand why you feel that way about

326
00:22:08,640 --> 00:22:10,480
you know, the challenges of playing in a band, and

327
00:22:10,839 --> 00:22:13,720
you know, maybe it's not necessarily worth it. But again

328
00:22:13,799 --> 00:22:17,039
also too, what you're doing is is so unusual and unique.

329
00:22:18,680 --> 00:22:21,279
What is that by the way. That's that tracks society's

330
00:22:21,319 --> 00:22:24,240
game that we opened with. Is there is there a meaning?

331
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Is there a specific message with the lyrics to that?

332
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Speaker 8: Uh?

333
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Speaker 5: A meaning? Well, it didn't Bob Dylan say once I

334
00:22:37,079 --> 00:22:39,400
just wrote it. I don't know what it's about. H

335
00:22:42,920 --> 00:22:46,240
I guess it's just about society. I mean, I think

336
00:22:46,319 --> 00:22:49,319
the late the late two thousands, I was going to

337
00:22:49,400 --> 00:22:53,400
a lot of society parties in New York City and yeah,

338
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and then when the economies we had the different economy crashes,

339
00:22:57,599 --> 00:23:01,519
the real estate and then the stock the tech bubble crash,

340
00:23:02,119 --> 00:23:03,920
and then that that all kind of died out. So

341
00:23:04,000 --> 00:23:06,680
it was kind of thinking about it, like, hmm, you know,

342
00:23:06,799 --> 00:23:09,960
that was that was interesting. It was an interesting time

343
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in the city. It's probably all come back now now,

344
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but now I was thinking, you know, me, you know,

345
00:23:16,440 --> 00:23:20,000
rubbing elbows with a lot of like movers and shakers

346
00:23:20,119 --> 00:23:29,400
and royalty, celebrities, artists, uh, you know, everybody. And in

347
00:23:29,480 --> 00:23:31,279
a way it was kind of cool. It was kind

348
00:23:31,319 --> 00:23:33,559
of like a mini Studio fifty four in a way,

349
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because I mean, here I was, I was just a

350
00:23:36,799 --> 00:23:40,839
broke artist, you know, but everybody sort of accepted you.

351
00:23:41,400 --> 00:23:45,039
But I did see lines and limitations, I mean, uh,

352
00:23:46,680 --> 00:23:52,759
you know, and privilege, a lot of privilege and talking

353
00:23:52,799 --> 00:23:57,519
about the kind of privilege that this uh comes with

354
00:23:58,279 --> 00:24:03,119
something that's green, you know, and uh there's you know,

355
00:24:03,359 --> 00:24:10,799
society uh boundaries and I want, I want to say rules,

356
00:24:10,920 --> 00:24:15,119
but that's probably the wrong word. But you know, so

357
00:24:15,279 --> 00:24:17,359
it you know, it has it has sort of a

358
00:24:17,480 --> 00:24:26,039
meaning that uh uh loosely defines the the upper echelon

359
00:24:26,559 --> 00:24:33,839
uh society in the East Coast there. Yeah, I would say, yeah,

360
00:24:34,359 --> 00:24:36,680
And then part of it's kind of interpretive.

361
00:24:39,079 --> 00:24:41,039
Speaker 4: Well, ultimately, I mean that really is the point, right,

362
00:24:41,160 --> 00:24:43,920
you know, music or any kind of art, it's it's

363
00:24:44,079 --> 00:24:47,440
really about what it means to the individual who is

364
00:24:47,640 --> 00:24:52,880
enjoying that that art, and up to their interpretation. It's

365
00:24:53,039 --> 00:24:57,880
it's all subjective, and I've always found it a little

366
00:24:57,920 --> 00:25:00,279
disappointing when you know, if I listen to a and

367
00:25:00,359 --> 00:25:04,240
it means something specific to me, and then I talk

368
00:25:04,359 --> 00:25:06,640
to somebody or I read an interview or an article

369
00:25:06,720 --> 00:25:09,640
where the musician who wrote it talks about what it's

370
00:25:09,640 --> 00:25:11,680
about and it turns out to be something completely different

371
00:25:11,720 --> 00:25:14,680
than what I interpreted it. As you know, I almost

372
00:25:14,720 --> 00:25:16,200
don't want to know in that case, you know what

373
00:25:16,240 --> 00:25:19,119
I mean, because I wanted to mean what it's supposed

374
00:25:19,160 --> 00:25:23,720
to mean to me, and that's entirely subjective. So I

375
00:25:23,799 --> 00:25:26,680
think there's value in creating art that can ultimately be

376
00:25:26,759 --> 00:25:30,960
interpreted anyway, or in this case, anyway the listener wants

377
00:25:31,000 --> 00:25:33,799
to interpret it. So I get what you're saying. I definitely,

378
00:25:34,160 --> 00:25:35,079
I definitely get that.

379
00:25:36,960 --> 00:25:37,119
Speaker 8: Well.

380
00:25:37,480 --> 00:25:40,079
Speaker 5: I'm actually a big fan of that leaving room for

381
00:25:40,200 --> 00:25:46,359
interpretation because yeah, like, for example, right now, I'm working

382
00:25:46,440 --> 00:25:50,359
on an opus or a piece that I wrote a

383
00:25:50,440 --> 00:25:52,480
lot of it back in the nineteen eighties and never

384
00:25:52,599 --> 00:25:56,319
did anything with it, and that's going to probably be

385
00:25:56,480 --> 00:26:01,240
my next project forwards, and where you could call it

386
00:26:01,839 --> 00:26:08,119
like almost like a rock opera or a something or

387
00:26:08,160 --> 00:26:15,160
a concept album, okay, And but the storylines is going

388
00:26:15,240 --> 00:26:18,880
to be somewhat interpretive, because you know, the last thing

389
00:26:18,960 --> 00:26:21,400
you want is people rolling their eyes. Where there's a

390
00:26:21,519 --> 00:26:26,119
tight knit storyline or rock opera or something, it's just

391
00:26:26,359 --> 00:26:29,599
ridiculous story I don't even know if the author knows

392
00:26:29,640 --> 00:26:32,000
what it means anymore by the end of it. Right,

393
00:26:32,079 --> 00:26:34,119
it's just like, oh, brother, you know I don't want

394
00:26:34,160 --> 00:26:37,519
to be like that, right right? Want you want some

395
00:26:37,759 --> 00:26:40,039
sort of structure there, but you don't want to be

396
00:26:40,359 --> 00:26:41,839
go overboard.

397
00:26:41,839 --> 00:26:46,240
Speaker 4: Right understood? Understood? Are you Are you already working on

398
00:26:46,359 --> 00:26:48,759
new material actively because you strike me as someone who

399
00:26:48,799 --> 00:26:50,559
probably has a lot of ideas.

400
00:26:52,720 --> 00:26:56,839
Speaker 5: Well. That that's the thing. I mean. I still have

401
00:26:57,039 --> 00:26:59,599
a couple of albums in my head, my solo stuff,

402
00:26:59,640 --> 00:27:02,920
and then I got this project that I just talked about,

403
00:27:04,440 --> 00:27:13,440
the Cuyahoga Project. So it's like I don't sit around

404
00:27:14,000 --> 00:27:17,799
beating myself up about if I'm I'm not being creative

405
00:27:17,920 --> 00:27:21,119
enough when you have a backlog of so much material

406
00:27:21,240 --> 00:27:26,599
that you haven't even recorded, you know. So that's actually

407
00:27:26,640 --> 00:27:28,480
a good place to be for an artist too.

408
00:27:28,640 --> 00:27:30,039
Speaker 4: Well, I was going to say, it's actually a good

409
00:27:30,119 --> 00:27:31,240
problem to have, right.

410
00:27:32,839 --> 00:27:35,279
Speaker 5: It kind of is, because if without it, I think

411
00:27:35,319 --> 00:27:38,759
I would be sitting around beating myself up over lack

412
00:27:38,839 --> 00:27:41,799
of ideas and not being creative enough and just racking

413
00:27:41,880 --> 00:27:42,440
my head.

414
00:27:42,319 --> 00:27:46,319
Speaker 9: For ideas, right right, Yeah, no doubt I'd.

415
00:27:46,119 --> 00:27:48,480
Speaker 5: Be My advice to any artists, you know, just build

416
00:27:48,599 --> 00:27:56,039
up a backlog and you know, save your sanity, right Exactly?

417
00:27:56,440 --> 00:27:59,680
Speaker 4: Do these songs, by the way, do they end up

418
00:27:59,759 --> 00:28:02,240
at the end of the process, Do they ever end

419
00:28:02,359 --> 00:28:06,559
up drastically different from what your initial idea was because

420
00:28:06,640 --> 00:28:09,200
you're again with your music. It's it's unique, and there

421
00:28:09,279 --> 00:28:11,400
seems to be a lot of I assume there's a

422
00:28:11,440 --> 00:28:15,200
lot of room for experimentation as you're recording them. I mean,

423
00:28:15,240 --> 00:28:17,240
do they ever end up? Do you ever end up

424
00:28:17,240 --> 00:28:19,559
with a finished product where you go, Wow, that's completely

425
00:28:19,640 --> 00:28:22,759
different than what I originally envisioned this particular piece to

426
00:28:23,039 --> 00:28:27,400
sound like, Oh yeah, very much so.

427
00:28:30,000 --> 00:28:31,759
Speaker 5: A lot of it A lot of times not not

428
00:28:32,160 --> 00:28:37,359
not not conceptually or not lyrically because the lyrics, you know,

429
00:28:37,519 --> 00:28:41,119
stay the same and they say the same thing. But

430
00:28:42,200 --> 00:28:48,920
I'm all often surprised how songs change stylistically and sonically

431
00:28:49,160 --> 00:28:53,319
and audio ly, if that was the word, mostly from

432
00:28:53,400 --> 00:28:55,559
the instruments that happens to me. It was like the

433
00:28:55,640 --> 00:28:59,720
other day I was recording a song for a future

434
00:29:00,319 --> 00:29:05,799
album called Japantown, and it's about it a place in

435
00:29:06,119 --> 00:29:10,680
San Francisco when I lived out there, and when I

436
00:29:11,039 --> 00:29:14,920
want to add the guitar parts, I started getting all

437
00:29:14,960 --> 00:29:18,680
these new ideas and I couldn't believe how drastically a change,

438
00:29:18,759 --> 00:29:21,640
especially the ending of the song. Yeah, you know, but

439
00:29:22,119 --> 00:29:23,960
that was a good thing though, but you never know,

440
00:29:24,119 --> 00:29:26,799
and really until it's like a painting, you really never

441
00:29:26,960 --> 00:29:30,119
know until they're done and you stand back and you

442
00:29:30,279 --> 00:29:32,759
look at it say oh wow, I'm seeing all this

443
00:29:32,960 --> 00:29:35,519
now and this and I didn't know come out like that.

444
00:29:36,839 --> 00:29:39,880
And so yeah, it's a process.

445
00:29:41,200 --> 00:29:41,720
Speaker 4: Absolutely.

446
00:29:41,839 --> 00:29:42,000
Speaker 6: Yeah.

447
00:29:42,000 --> 00:29:43,960
Speaker 4: I've heard Jenny say that, you know, she's a painter,

448
00:29:44,200 --> 00:29:46,680
and I've heard her say, you know, when a painting

449
00:29:46,799 --> 00:29:49,480
is done, or she feels it's done, she'll say, this

450
00:29:49,559 --> 00:29:52,039
isn't what I This isn't what I intended it to

451
00:29:52,119 --> 00:29:53,720
be when I started it, or I didn't think this

452
00:29:53,920 --> 00:29:56,039
is what it was going to look like. But it's done.

453
00:29:56,079 --> 00:29:57,880
Here it is, you know. But that's kind of the

454
00:29:57,920 --> 00:30:01,640
adventure of it, right, creating, whether it's painting or music,

455
00:30:01,720 --> 00:30:03,880
any kind of art. When it when it ends up,

456
00:30:04,000 --> 00:30:05,799
there is something kind of cool about that, when it

457
00:30:05,960 --> 00:30:09,119
ends up being something different than what you had originally intended.

458
00:30:09,240 --> 00:30:11,400
As long as it is in a good way, as

459
00:30:11,440 --> 00:30:14,720
long as it's something that you're happy with, that's kind

460
00:30:14,759 --> 00:30:16,119
of the adventure of creating.

461
00:30:16,359 --> 00:30:21,519
Speaker 5: I think, well, yeah, as long as you're happy with that, sure,

462
00:30:21,599 --> 00:30:24,519
that's the key. There's there's some times who have recorded

463
00:30:25,319 --> 00:30:28,720
stuff that I was. I didn't think it would come

464
00:30:28,759 --> 00:30:31,440
out sounding like that. I want to hear what I

465
00:30:31,559 --> 00:30:32,319
heard in my head.

466
00:30:32,440 --> 00:30:35,680
Speaker 9: You know, right, this is a this is a disaster,

467
00:30:36,079 --> 00:30:40,079
you know right, Yeah that that happens too, yeah, yeah,

468
00:30:40,160 --> 00:30:42,559
oh yeah, And that's that's not such a great feeling

469
00:30:42,599 --> 00:30:43,920
when you get to the end of it and you go, oh,

470
00:30:43,960 --> 00:30:45,480
I wish i'd been able to actually.

471
00:30:45,279 --> 00:30:50,640
Speaker 4: Play you know, what I had imagined or you know, yeah,

472
00:30:51,079 --> 00:30:53,039
And I've certainly had that happen where it's like, geez,

473
00:30:53,039 --> 00:30:54,960
I had this great idea, but I can't seem to

474
00:30:55,400 --> 00:30:59,160
figure out how to translate it into actual, actual music.

475
00:30:59,440 --> 00:31:01,920
Speaker 5: And there were there were two cover songs on the

476
00:31:02,000 --> 00:31:06,039
album also, I wanted to mention that they came out

477
00:31:06,119 --> 00:31:08,480
as some of the best songs on the album.

478
00:31:08,599 --> 00:31:13,119
Speaker 10: Really well, So I have one song, oh yeah, go ahead,

479
00:31:13,119 --> 00:31:15,759
go ahead, Oh no, go ahead, Tom finish her. I thought,

480
00:31:15,920 --> 00:31:19,519
I'm curious, Well, this could be a long thought.

481
00:31:19,599 --> 00:31:26,720
Speaker 5: That's why I asked you, Well, the one song I

482
00:31:26,799 --> 00:31:29,720
want to be with You Tonight. That was a song

483
00:31:31,799 --> 00:31:36,319
by a Cleveland band called Lipstick. Back in the day,

484
00:31:36,920 --> 00:31:40,480
back in the nineteen eighties. I mean, you couldn't go

485
00:31:40,559 --> 00:31:42,839
out to a club and not see that group. You know,

486
00:31:43,319 --> 00:31:47,640
they were playing everywhere, and that song always kind of

487
00:31:47,640 --> 00:31:49,519
stuck in my head. It was a good song, and

488
00:31:49,759 --> 00:31:52,160
I think they released it. I think it charted a

489
00:31:52,240 --> 00:31:54,680
little bit on Billboard. I'm not sure. I think it did.

490
00:31:56,440 --> 00:31:59,559
But now I was sitting there on the studio one

491
00:31:59,680 --> 00:32:05,200
day just playing some stuff and wondering how certain things

492
00:32:05,240 --> 00:32:07,119
would sound. And I was like, I wonder if I could,

493
00:32:07,119 --> 00:32:09,160
you know, learn a little part of that song, and

494
00:32:10,039 --> 00:32:12,400
and and I when I played it back, and it

495
00:32:12,480 --> 00:32:15,039
sounded really good, and I was like, wow, you don't

496
00:32:15,160 --> 00:32:21,759
mentioned consider doing a cover version of this? And so

497
00:32:21,920 --> 00:32:26,799
I did, and I thought it came out pretty decent. Yeah,

498
00:32:27,720 --> 00:32:31,359
really groove. That had a groove to it. And I

499
00:32:31,440 --> 00:32:37,200
think that was played that featured on George Norri Coast

500
00:32:37,240 --> 00:32:37,599
to Coast.

501
00:32:37,640 --> 00:32:42,519
Speaker 4: I am really George played that on that's I didn't know,

502
00:32:42,640 --> 00:32:45,720
oh like his bumper music or the whole song? Did

503
00:32:45,759 --> 00:32:47,039
did he actually play the whole thing?

504
00:32:49,079 --> 00:32:50,839
Speaker 5: Oh? No, not the whole thing. Yeah, it was a

505
00:32:50,920 --> 00:32:54,920
bumper piece, uh, one of the on one of the

506
00:32:55,039 --> 00:32:59,319
Sunday night thingies that they do. But that was cool

507
00:32:59,799 --> 00:33:07,960
and and and the other cover song things fall apart

508
00:33:09,440 --> 00:33:13,319
that was a song by a Cleveland band called the Generators,

509
00:33:13,839 --> 00:33:20,960
and there were late seventies, early eighties, and I had

510
00:33:21,000 --> 00:33:25,119
a live recording that I found somewhere or something, was

511
00:33:25,160 --> 00:33:29,079
a real tape of them, and the version of that

512
00:33:29,480 --> 00:33:34,400
song on the tape was just lights out. It was

513
00:33:34,519 --> 00:33:38,359
just fabulous. It was great, and it was I think

514
00:33:38,400 --> 00:33:41,000
it was slower than the version that they released as

515
00:33:41,039 --> 00:33:43,759
a single, which I didn't really care for that much.

516
00:33:44,279 --> 00:33:47,880
But this version of the song really made it groove

517
00:33:48,319 --> 00:33:54,519
and come out. And and so I was like, you know,

518
00:33:54,880 --> 00:33:56,440
I want to do that. I want to I want

519
00:33:56,480 --> 00:33:58,319
to do a cover of that song. And it's going

520
00:33:58,400 --> 00:34:02,759
to be at that speed too. And I studied all

521
00:34:02,839 --> 00:34:05,880
the parts that that one. I played all the instruments

522
00:34:05,960 --> 00:34:10,440
on also, and studied all the parts. I kept them

523
00:34:10,480 --> 00:34:17,400
to well what you then, their natural form, how they

524
00:34:17,440 --> 00:34:22,559
were played by the various musicians. I tried to keep

525
00:34:22,599 --> 00:34:26,920
it as true as as possible to the original performances

526
00:34:27,159 --> 00:34:30,880
and studied all the parts and actually played the drums

527
00:34:30,920 --> 00:34:31,400
on that too.

528
00:34:31,840 --> 00:34:36,360
Speaker 4: Oh okay, very cool. Well we're going to in a moment,

529
00:34:36,920 --> 00:34:39,159
we're gonna play I want to be with You tonight.

530
00:34:39,239 --> 00:34:43,519
That's how we will end the segment. But Tom, I

531
00:34:43,800 --> 00:34:46,360
really appreciate you joining us this morning. This has been interesting.

532
00:34:46,440 --> 00:34:48,800
Like I said, your music is quite fascinating to me

533
00:34:49,920 --> 00:34:53,000
before we let you go, and like I said, we'll

534
00:34:53,119 --> 00:34:54,679
end with that track. I want to be with you

535
00:34:54,800 --> 00:34:57,000
tonight since you were just talking about it a moment ago.

536
00:34:57,079 --> 00:34:59,480
But anything we should know about, where's the best place

537
00:34:59,519 --> 00:35:01,239
to go to find you online for people who want

538
00:35:01,280 --> 00:35:04,000
to keep up with everything that you're doing. Uh, check

539
00:35:04,039 --> 00:35:05,880
out your music. I don't know if you have any

540
00:35:05,960 --> 00:35:08,760
live shows coming up, but where should people go online

541
00:35:08,800 --> 00:35:10,400
to keep up with Tom Modern?

542
00:35:13,800 --> 00:35:17,039
Speaker 5: All I can say about that is the different streaming

543
00:35:17,199 --> 00:35:21,920
and download platforms. You know, we all we all know

544
00:35:22,039 --> 00:35:26,599
what those are. And because I don't have much of

545
00:35:26,599 --> 00:35:30,320
an online presence right now because recently I was thrown

546
00:35:30,360 --> 00:35:36,639
off of Facebook for promoting my album to radio stations

547
00:35:37,000 --> 00:35:42,800
and and so I'm not on Facebook anymore. Oh so

548
00:35:44,039 --> 00:35:48,000
I don't have a tommodern dot com yet. Yeah, maybe

549
00:35:48,039 --> 00:35:51,639
in the future. Yeah, So you know, the best way

550
00:35:51,679 --> 00:35:57,480
is streaming and download because these other social platforms, you know,

551
00:35:57,519 --> 00:36:01,000
I don't get them, man, And you're.

552
00:36:01,039 --> 00:36:03,679
Speaker 4: You're very easy to google. You're very googleable. As I

553
00:36:03,840 --> 00:36:06,599
like to say, if you just google Tom Modern music,

554
00:36:07,360 --> 00:36:09,599
everything comes right up. So I encourage people to find

555
00:36:09,639 --> 00:36:12,639
you that way too. But uh we will uh yeah,

556
00:36:12,639 --> 00:36:14,639
we will close out the segment with this track I

557
00:36:14,719 --> 00:36:17,239
want to be with you tonight. But Tom Modern, I

558
00:36:17,320 --> 00:36:20,199
appreciate you calling in. Uh it was a it was

559
00:36:20,199 --> 00:36:22,159
a little rough with Skype, but we figured it out

560
00:36:22,239 --> 00:36:25,400
and the phone connection got a lot better. So so

561
00:36:25,519 --> 00:36:27,559
it's wonderful to talk with you. And we will have

562
00:36:27,639 --> 00:36:28,840
to do this again in the future.

563
00:36:30,800 --> 00:36:32,880
Speaker 5: All right, Matt's fun talking man.

564
00:36:33,119 --> 00:36:35,000
Speaker 4: All Right, Tom, thank you. We'll let you go, and

565
00:36:35,039 --> 00:36:38,760
I'm gonna hit this track all right, take care by

566
00:36:39,119 --> 00:36:42,719
bye bye. All right, everybody, that was Tom Modern. If

567
00:36:42,760 --> 00:36:46,480
you are listening live on Saturday morning, we have Willie

568
00:36:46,599 --> 00:36:49,480
Chase coming up next for the third hour. In fact,

569
00:36:49,519 --> 00:36:51,360
he has already arrived. I gotta go let him in.

570
00:36:51,719 --> 00:36:54,519
But check this out. This is called I Want to

571
00:36:54,559 --> 00:36:56,639
be with you tonight. This is Tom Modern.

572
00:37:31,679 --> 00:37:34,119
Speaker 1: I don't know if I tot it.

573
00:37:34,719 --> 00:37:36,559
Speaker 6: I don't didn't trust him, bid.

574
00:37:38,320 --> 00:37:39,239
Speaker 8: I can't believe that.

575
00:37:39,400 --> 00:37:44,559
Speaker 1: I hear myself saying I believe in magic side and

576
00:37:44,760 --> 00:37:48,039
I don't want you that rather bout me.

577
00:37:48,159 --> 00:37:51,519
Speaker 6: I don't want you may promises.

578
00:37:51,639 --> 00:37:54,199
Speaker 1: I don't want you'll tell you.

579
00:37:54,400 --> 00:37:57,199
Speaker 3: I just want you to love it.

580
00:37:59,280 --> 00:37:59,920
Speaker 2: I want to.

581
00:38:19,519 --> 00:38:21,320
Speaker 6: Remember the first time I saw.

582
00:38:22,679 --> 00:38:24,719
Speaker 4: I remember when you cried.

583
00:38:26,280 --> 00:38:27,360
Speaker 5: You don't want you.

584
00:38:27,639 --> 00:38:28,719
Speaker 1: That's so ashamed.

585
00:38:29,280 --> 00:38:33,480
Speaker 4: But I mean everything I write, don't.

586
00:38:36,400 --> 00:38:42,679
Speaker 1: Double crises that don't you gonna tell me about I

587
00:38:43,320 --> 00:38:45,480
just want you to let him.

588
00:39:13,039 --> 00:39:13,360
Speaker 9: Aga.

589
00:40:00,079 --> 00:40:03,440
Speaker 4: If I have to say that, I don't even chuck.

590
00:40:03,280 --> 00:40:04,000
Speaker 6: It a ride.

591
00:40:05,760 --> 00:40:09,559
Speaker 1: I can leader here, but they'll say, I don't leave

592
00:40:09,639 --> 00:40:14,440
the magical side. And I tell him what you got

593
00:40:14,519 --> 00:40:15,480
brother about me?

594
00:40:15,639 --> 00:40:18,960
Speaker 4: I don't want us make promises.

595
00:40:19,039 --> 00:40:22,480
Speaker 1: I tell him what you tell me black Bam, I

596
00:40:22,679 --> 00:40:28,400
chance fault you. But then I don't want you right

597
00:40:28,480 --> 00:40:29,159
a me.

598
00:40:29,320 --> 00:40:33,639
Speaker 5: I tell him why you make promises. I tell him mom,

599
00:40:34,519 --> 00:40:36,000
you must come at nam.

600
00:40:36,239 --> 00:40:37,320
Speaker 1: I try to qult you.

601
00:40:39,159 --> 00:40:40,559
Speaker 5: And if I don't want to.

602
00:40:43,719 --> 00:40:48,760
Speaker 2: Watch and I want, I don't.

603
00:40:48,599 --> 00:40:56,840
Speaker 1: Want about this wild evening said that tell them I

604
00:40:57,000 --> 00:41:05,320
don't want to go a ride so long to take

605
00:41:05,400 --> 00:41:14,360
down just as.

606
00:41:12,239 --> 00:41:13,719
Speaker 3: The making us.

607
00:41:13,960 --> 00:41:17,519
Speaker 1: I don't talking the young.

608
00:41:50,719 --> 00:41:55,440
Speaker 11: And we waited outside the streets and oh my head

609
00:41:55,599 --> 00:42:01,480
and happy down Jesus all.

610
00:42:04,280 --> 00:42:08,440
Speaker 1: So he said, advising one, you want me on the

611
00:42:08,559 --> 00:42:22,159
time with the time, he said that anything seems tell

612
00:42:22,239 --> 00:42:35,559
me my child say not to the times. I wish

613
00:42:35,679 --> 00:42:36,679
she had a change.

614
00:42:38,400 --> 00:42:42,280
Speaker 8: Its funny open. So these days I'll do.

615
00:42:48,440 --> 00:42:48,599
Speaker 7: Well.

616
00:42:48,679 --> 00:42:51,239
Speaker 5: Let's talk about the pictures actors.

617
00:42:51,679 --> 00:42:54,719
Speaker 3: But then it tames them all back then.

618
00:43:01,280 --> 00:43:03,280
Speaker 12: That you a lot of going out.

619
00:43:03,199 --> 00:43:04,039
Speaker 6: With nobody do.

620
00:43:05,519 --> 00:43:06,199
Speaker 3: I just need this?

621
00:43:06,400 --> 00:43:06,679
Speaker 2: Is it?

622
00:43:08,639 --> 00:43:09,000
Speaker 6: It's not.

623
00:43:18,639 --> 00:43:30,760
Speaker 1: Months, not the fun.

624
00:43:32,519 --> 00:43:34,079
Speaker 9: Father wish you not a thing.

625
00:43:36,679 --> 00:43:38,239
Speaker 1: O things for starting.

626
00:44:06,639 --> 00:44:11,400
Speaker 11: I know some take up, but I gotta know the

627
00:44:13,000 --> 00:44:13,840
we don't.

628
00:44:20,039 --> 00:44:25,719
Speaker 1: We Conna beepp I know another sony to be share

629
00:44:28,840 --> 00:44:38,079
game again. It didn't need anything, must say it didn't

630
00:44:38,119 --> 00:44:38,800
made any.

631
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Speaker 4: Listen to another.

632
00:44:47,159 --> 00:44:49,159
Speaker 1: Enough to try to turn our cars.

633
00:44:50,519 --> 00:44:52,599
Speaker 13: But I wish you had change.

634
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Speaker 1: Only of things.

635
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Speaker 17: Dizneys can when it comes to keeping WMNH on the

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Speaker 3: Seven times out of ten.

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Speaker 14: We listened to our music at.

674
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Speaker 17: Night don titled books.

675
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Speaker 7: Program Late Night to Light with DJ Midas right here

676
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on WMNH, Manchester.

677
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Speaker 1: You want to know why because.

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Speaker 18: Saturdays and Sunday nights midnight to four am.

679
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Speaker 8: This hour on WMNH is sponsored by CGI Business Solutions,

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three megahertz frequency modulation. Our transmissions emanate from the ZF

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our creative realm at one nineteen Canal Street. We're Innovation

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and Sound Cologne. They're the impromoter of Manchester Public Television

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Enrich your auditory journey with the depth of our license

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envelop you with a symphony of foundless auditories.

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Speaker 6: Won dude, w MNH rip the novels.

704
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Speaker 4: This is Eleanor Langthorne from Vices Inc. And you're listening

705
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to Matt Connorton Unleashed on ninety five point three.

706
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Speaker 14: W m n h.

707
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Speaker 6: M hm, time stands still.

708
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Speaker 8: Feel my.

709
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Speaker 6: Drink mop bo pulling air into my chest. Ah, I know.

710
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Speaker 18: It isn't instant dandy, It's gone air and flow. Let

711
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the current take me time, Let's time, let's time. We

712
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are last time at Thing.

713
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Speaker 2: Time is.

714
00:51:06,199 --> 00:51:35,320
Speaker 3: Lest till morning Sunday. Second stroll.

715
00:51:38,199 --> 00:51:47,800
Speaker 7: You'll up my glass san zero, leave me over, take

716
00:51:48,000 --> 00:51:52,800
me back, whine my day.

717
00:51:55,239 --> 00:52:05,159
Speaker 11: Do the lifeple dless song sample again to that summer

718
00:52:05,639 --> 00:52:06,159
felt so.

719
00:52:14,760 --> 00:52:30,920
Speaker 13: So never read of walking due dancing across the surface

720
00:52:31,400 --> 00:52:36,000
of the sun, goes around, chasing it down.

721
00:52:36,920 --> 00:52:40,119
Speaker 3: He's eat it body have it's slip.

722
00:52:40,400 --> 00:52:45,119
Speaker 15: So oh.

723
00:52:54,199 --> 00:53:03,679
Speaker 11: Time, let's time. Let's time. We last time then thing time.

724
00:53:03,760 --> 00:53:06,480
Speaker 6: List, time list.

725
00:53:08,480 --> 00:53:10,079
Speaker 3: Moment Saturday.

726
00:53:30,400 --> 00:53:32,679
Speaker 4: Oh my god, that is great. That's brand new.

727
00:53:32,800 --> 00:53:34,400
Speaker 20: Huh thanks man, Yeah, brand new.

728
00:53:34,519 --> 00:53:37,039
Speaker 4: Wow, that is fantastic. If you're just joining us, Willie

729
00:53:37,079 --> 00:53:41,280
Chases here with us live in studio on this Saturday morning.

730
00:53:41,360 --> 00:53:45,960
That's very cold Saturday morning. But yeah, that's how new

731
00:53:46,079 --> 00:53:47,599
was that? You said you just wrote that with a

732
00:53:47,760 --> 00:53:49,559
friend who didn't know you were going to play it tonight.

733
00:53:49,639 --> 00:53:51,719
Speaker 6: Is that that's pretty accurate.

734
00:53:53,239 --> 00:53:56,199
Speaker 20: We just had our last co writing session maybe a

735
00:53:56,280 --> 00:54:01,840
week ago, and I had written the song thread probably

736
00:54:02,280 --> 00:54:04,199
five or six months ago. It sat for a while

737
00:54:04,280 --> 00:54:07,360
in my in my voice notes, yeah, on iPhone, as

738
00:54:07,360 --> 00:54:10,480
a lot of them do. And then I threw it

739
00:54:10,519 --> 00:54:13,880
over to my friend Ian Gallipo, who's from the Keen area,

740
00:54:14,199 --> 00:54:17,159
and he liked it, kind of wrote a chorus to it,

741
00:54:17,880 --> 00:54:20,719
maybe some verse parts I think, and then we just

742
00:54:21,039 --> 00:54:23,440
put our heads together over a video chat and kind

743
00:54:23,480 --> 00:54:28,199
of hammered it out. I had written that bridge, and yeah,

744
00:54:28,280 --> 00:54:30,760
it kind of came together and then I was kind

745
00:54:30,800 --> 00:54:32,079
of like, holy cow, we have a song, you know

746
00:54:32,119 --> 00:54:34,400
what I mean, which is a really cool moment as

747
00:54:34,440 --> 00:54:34,920
a songwriter.

748
00:54:35,599 --> 00:54:37,440
Speaker 4: I feel like Ian Gallipo is a name that's come

749
00:54:37,519 --> 00:54:39,320
up on the show. I don't think he's ever been on.

750
00:54:40,000 --> 00:54:41,519
I would say I don't think he's ever been on,

751
00:54:41,679 --> 00:54:43,760
because it does become I've been doing this a long time.

752
00:54:43,800 --> 00:54:45,400
It does become a little bit of a blurk, of course,

753
00:54:45,480 --> 00:54:46,639
But I don't think he's been on the show. But

754
00:54:46,679 --> 00:54:48,320
I feel like his name comes up a lot on

755
00:54:48,480 --> 00:54:48,840
the show.

756
00:54:49,440 --> 00:54:51,199
Speaker 20: Yeah, he's awesome. So I work a lot with the

757
00:54:51,239 --> 00:54:52,360
New Hampshire Music Collective.

758
00:54:53,119 --> 00:54:56,199
Speaker 4: That might be how i've well, I've heard his name, yeah, yeah, so.

759
00:54:56,360 --> 00:54:58,719
Speaker 20: He's he's you know, a member of the collective as well,

760
00:54:58,800 --> 00:55:00,960
does all sorts of stuff with that and other things.

761
00:55:01,079 --> 00:55:04,119
But that's how I met him. And he's great man.

762
00:55:04,159 --> 00:55:06,440
If you've never heard his song little Things, check it out.

763
00:55:06,840 --> 00:55:10,159
It's a gut wrencher be ready to cry. Yeah, But

764
00:55:10,280 --> 00:55:13,559
he's just an incredible lyricist. He's an incredible musician and

765
00:55:13,760 --> 00:55:16,559
down to earth guy. You know, he's really enjoyable to

766
00:55:16,599 --> 00:55:18,639
be around. So I had a really good experience writing

767
00:55:18,679 --> 00:55:21,079
with him, you know, in the level that I'm at

768
00:55:21,199 --> 00:55:23,639
right now, there's no skin in the game really, you

769
00:55:23,679 --> 00:55:25,199
know what I mean. I'm kind of just starting out

770
00:55:25,199 --> 00:55:27,599
on the songwriting journey over the last few years really.

771
00:55:27,880 --> 00:55:28,079
Speaker 6: Yeah.

772
00:55:28,239 --> 00:55:30,360
Speaker 20: And I've been a musician my whole life. I can

773
00:55:30,760 --> 00:55:32,119
fill you in on in the backstore if you want.

774
00:55:32,199 --> 00:55:34,119
But but with the end, it's just great because we

775
00:55:34,800 --> 00:55:37,159
it's just pure creativity, you know what I mean, two

776
00:55:37,280 --> 00:55:40,159
musicians hanging out writing a song. There's no pressure to

777
00:55:40,199 --> 00:55:43,039
do anything. And for whatever reason, I was just kind

778
00:55:43,079 --> 00:55:45,239
of had that feeling when we were doing that together

779
00:55:45,320 --> 00:55:47,639
and and and that's what it's all about for me. Yeah,

780
00:55:47,679 --> 00:55:50,159
those kind of experiences and writing music and being just

781
00:55:50,239 --> 00:55:51,400
purely creative.

782
00:55:51,199 --> 00:55:54,519
Speaker 4: No doubt. So you you've been a musician for a

783
00:55:54,599 --> 00:55:57,039
long time, as you said, but you only started writing

784
00:55:57,119 --> 00:55:58,079
songs a few years ago.

785
00:55:58,760 --> 00:56:01,400
Speaker 20: Yeah, I mean, I quote quote have written other stuff.

786
00:56:01,960 --> 00:56:02,159
Speaker 5: Yeah.

787
00:56:02,719 --> 00:56:04,760
Speaker 20: I was a horn player in high school. I was

788
00:56:04,800 --> 00:56:07,400
our class instrumentalist. I was in like every music group,

789
00:56:08,360 --> 00:56:10,079
did all of it, show choir, I did a lot

790
00:56:10,119 --> 00:56:10,480
of theater.

791
00:56:11,880 --> 00:56:12,119
Speaker 14: I was.

792
00:56:12,440 --> 00:56:14,280
Speaker 20: I started in high school musical when I was in

793
00:56:14,360 --> 00:56:18,320
high school, all sorts of you know of stuff to

794
00:56:18,639 --> 00:56:20,400
lead me on my musical journey. And then I kind

795
00:56:20,440 --> 00:56:22,920
of I kind of went a totally different direction for

796
00:56:22,960 --> 00:56:26,159
the last decade. I got a degree in resort management

797
00:56:26,239 --> 00:56:28,400
and have worked at ski resorts and done all men

798
00:56:28,519 --> 00:56:30,239
of other things. But I never put down the guitar.

799
00:56:30,559 --> 00:56:32,360
That's kind of what kept it alive for me. And

800
00:56:32,440 --> 00:56:34,440
then yeah, like three years ago, I had a really

801
00:56:34,440 --> 00:56:36,360
good friend who was living around here, and she convinced

802
00:56:36,400 --> 00:56:38,320
me to go to an open mic up at Patrick's

803
00:56:38,480 --> 00:56:41,719
Pub in Guildford, New Hampshire. That's where I met John MacArthur,

804
00:56:41,800 --> 00:56:44,519
who's one of the owners of the New Hampshire Music Collective.

805
00:56:44,639 --> 00:56:46,039
Speaker 4: Yeah, we had him on the show. He's great.

806
00:56:46,119 --> 00:56:48,679
Speaker 20: Yeah, he's awesome. Can't say enough good things about him.

807
00:56:48,800 --> 00:56:51,079
And you know, especially in this context with the opportunities

808
00:56:51,119 --> 00:56:52,960
he's given me playing a lot of these bar gigs

809
00:56:53,000 --> 00:56:57,360
and stuff around here, which is just it's like with anything, right,

810
00:56:57,440 --> 00:56:58,800
if you want to be really good, you got to

811
00:56:58,840 --> 00:57:00,840
just put in time and hard work. It's kind of

812
00:57:00,880 --> 00:57:02,639
the grind that I've been on these last few years

813
00:57:02,679 --> 00:57:06,239
since doing that. And then you know, I've, like I said,

814
00:57:06,239 --> 00:57:07,719
I've been a musician my whole life, and I have

815
00:57:07,760 --> 00:57:10,440
a really I lean really heavily on my ear, Yeah,

816
00:57:10,840 --> 00:57:13,119
and I can be judgmental in that way. So I think,

817
00:57:13,440 --> 00:57:15,920
as most musicians will probably tell you, there's a lot

818
00:57:15,920 --> 00:57:17,679
of stuff that goes on with songwriting in terms of

819
00:57:18,159 --> 00:57:21,880
being hyper critical of yourself and self confidence, releasing tracks

820
00:57:21,880 --> 00:57:24,880
and everything. So you know, it's a slow process. But

821
00:57:25,000 --> 00:57:28,199
I'm in early production of making a record hopefully, and

822
00:57:28,280 --> 00:57:29,480
you know that might be one of the songs that's

823
00:57:29,519 --> 00:57:30,000
going to be on it.

824
00:57:30,320 --> 00:57:30,840
Speaker 4: Oh, I hope.

825
00:57:30,880 --> 00:57:33,960
Speaker 20: So yeah, it deserves That's totally good. Yeah, that's very

826
00:57:34,039 --> 00:57:36,880
kind of youat to say. I Yeah, it's it's something

827
00:57:36,920 --> 00:57:38,599
I'm really interested in. But like I said, it's it's

828
00:57:38,639 --> 00:57:40,320
just tough not to be able to overly critical. But

829
00:57:40,360 --> 00:57:42,440
at this point in my life, on my early thirties,

830
00:57:43,119 --> 00:57:46,719
I I feel like it's a really good place to

831
00:57:46,800 --> 00:57:49,400
be doing what I'm doing with music. I think that

832
00:57:49,519 --> 00:57:52,119
if I had gone right into music school like I

833
00:57:52,280 --> 00:57:54,159
kind of wanted to after high school, after doing all

834
00:57:54,199 --> 00:57:56,159
that stuff, I don't think it would have gone well.

835
00:57:56,320 --> 00:57:58,119
I think I was on the edge of burnt out

836
00:57:58,519 --> 00:58:00,800
really because yeah, I mean we had as been practices

837
00:58:00,800 --> 00:58:03,000
every morning before school. At six point forty, it was

838
00:58:03,000 --> 00:58:07,519
taking trumpet lessons. It's just completely saturated in music. Yeah,

839
00:58:08,039 --> 00:58:10,119
and not really knowing, you know, at that point in

840
00:58:10,159 --> 00:58:12,679
my life, you know, late teens, early twenties, you're just

841
00:58:12,719 --> 00:58:15,679
figuring out who you are, right. So all the experiences

842
00:58:15,679 --> 00:58:17,199
I've had over the last ten years of not being

843
00:58:17,239 --> 00:58:19,719
involved in music, I think have just fueled this crazy

844
00:58:19,800 --> 00:58:22,360
fire that I have now to write and collaborate with

845
00:58:22,440 --> 00:58:25,519
people and just really like I just started taking guitar

846
00:58:25,639 --> 00:58:28,840
lessons a couple, you know, maybe a month or two ago,

847
00:58:29,039 --> 00:58:31,679
with a really great guy. So I'm actually putting some

848
00:58:31,760 --> 00:58:33,920
of the old theory, knowledge that I have to use

849
00:58:34,000 --> 00:58:37,199
with like the fifteen years of guitar playing, just playing

850
00:58:37,320 --> 00:58:39,920
songs that I like to hear and play. Yeah, So

851
00:58:40,079 --> 00:58:42,239
it just feels really, really awesome, and I'm really grateful

852
00:58:42,239 --> 00:58:44,559
to be here doing what I'm doing now.

853
00:58:44,800 --> 00:58:48,239
Speaker 4: You know, during the span of time where you you know,

854
00:58:48,360 --> 00:58:50,159
you had kind of gotten away from it all, did

855
00:58:50,239 --> 00:58:53,199
you always kind of know that you would come back

856
00:58:53,239 --> 00:58:56,000
to it, or did you really at the time kind

857
00:58:56,000 --> 00:58:58,320
of feel like you know that was you know, I'm

858
00:58:58,440 --> 00:59:00,000
sort of done with that. I'm sort of burnt out

859
00:59:00,239 --> 00:59:00,400
on it.

860
00:59:01,320 --> 00:59:03,480
Speaker 20: If you asked me that question years ago, I probably

861
00:59:03,480 --> 00:59:05,360
would have told you the latter. I probably would have

862
00:59:05,440 --> 00:59:08,519
told you now, you know, And I think that comes

863
00:59:08,559 --> 00:59:11,559
from being jaded and my no, through no fault of

864
00:59:11,599 --> 00:59:13,119
his own, My trumpet teacher was one of the ones

865
00:59:13,119 --> 00:59:15,840
who convinced me not to go to school for like

866
00:59:16,039 --> 00:59:19,400
performance really yeah, which how much of that was actually

867
00:59:19,480 --> 00:59:20,760
him and how much of it was in my head?

868
00:59:20,800 --> 00:59:24,599
I can't really tell you, but you know, and his

869
00:59:24,679 --> 00:59:27,159
point was very valid. You know, forty years ago, there

870
00:59:27,239 --> 00:59:29,480
was just so many horn players working in places like

871
00:59:29,519 --> 00:59:31,360
New York, Boston, you know, all these clubs and theaters

872
00:59:31,400 --> 00:59:33,840
had live orchestras, and now it's just a percentage of

873
00:59:33,880 --> 00:59:36,559
what that was. So yeah, the statistics just make it

874
00:59:36,599 --> 00:59:41,000
pretty daunting. Yeah, but I think subconsciously, very deep down there,

875
00:59:41,079 --> 00:59:43,599
to answer your question, I think it was inevitable of

876
00:59:43,679 --> 00:59:45,360
coming back to music. I mean, it's just such a

877
00:59:45,400 --> 00:59:47,800
part of me. It's part of who I am, been

878
00:59:47,840 --> 00:59:49,599
part of who I am since a very young age.

879
00:59:50,880 --> 00:59:52,400
And like I said, you know, I rely heavily on

880
00:59:52,480 --> 00:59:53,760
my ear. I don't like to say I have a

881
00:59:53,800 --> 00:59:55,480
good ear because it's like, what does that mean.

882
00:59:55,599 --> 00:59:55,639
Speaker 17: But