Speaker 1: The class victims of the I A t.
Speaker 2: D A sky a skys cos he foss go.
Speaker 1: See the court montage.
Speaker 2: Enough to starve.
Speaker 3: And what you said?
Speaker 1: So I live in the said.
Speaker 2: In the call blood states, think of the living another
rebel chase.
Speaker 1: They're not a bad don't pass them about the time.
Speaker 2: Said, I'm as side said.
Speaker 1: To said.
Speaker 3: Times.
Speaker 4: First of all, then the poets are massing.
Speaker 1: Then the response upon.
Speaker 4: The pot desire.
Speaker 2: To that excel still then I said the walk. Now
I'm not aside the days time, the money gives above the.
Speaker 1: Seas, that the world and just get wet. Anything better
than this, continue to love. Then I'm a man.
Speaker 4: That's like the worst phone connection ever, Tom, Are you
there yonder? Okay? For some reason, there's like this, uh
strange sound in the background. But I think we can
live with it. Well, at least we can hear each other.
Speaker 5: I don't know what that would be, but yeah, I
don't know.
Speaker 4: Do you hear that? Do you hear like a buzzing
in the background.
Speaker 5: Well, that could be h just the airflow, but that's
down in the basement. I mean, I'm surprised it's traveling
that far. I'm on the first first floor.
Speaker 6: Yeah, that's all right, though.
Speaker 4: We can hear you. You're you're nice and you're coming
through nice and clear or so, so that's that's what matters.
Speaker 5: Shut it off. I can shut it off if you
give me a second.
Speaker 4: Oh okay, okay, no problem, if you are just joining us.
Tom Modern is calling in because the skype thing did
not work out. But uh, I actually really like that
song Toxic Man. What Tom does, if you are listening,
is unconventional. He's very unique. His music is very unique.
So I'm quite curious to speak with him. But he's
going to go and try to shut off whatever is
causing that sounds like angry bees. O, hey, this should
be better, all right, Tom? Hey, so how do you
describe your music? I'm really curious let's start there, because
what you're doing, and obviously I'm not the only one
to say this to you, what you're doing is very unique.
I cannot think of anyone who I mean, there might
be some influences there that we can talk about, but
I haven't heard anyone who sounds quite like you. So
I'm really curious. How do you describe your music to
someone who's never heard it?
Speaker 7: Uh?
Speaker 5: I would say it's a galectic. It's influenced by a
lot of different artists, and it's you know, it's organic
in the sense that i'd I like to play a
lot of different instruments, but I would probably it's been
tough to categorize, but I would at times I would
call it art pop or post wave.
Speaker 4: Yeah, or.
Speaker 5: Uh, prog pop Okay, some prog influences there. It's difficult though.
They don't have the right categories for artists these days
that they really need a few more.
Speaker 4: You mentioned you play multiple instruments. Do you play everything
on these tracks?
Speaker 5: Is that all you on some of the tracks? Yes,
I've played everything, but there were four or five guest
musicians on the on the album. I try to use
as many people as I can. It's just, you know,
it's sometimes it's tough getting people and because I I
grew up playing guitar and but I always had a
piano and a drum machine in my house, so it
was sort of natural too. Just learn those instruments a
little bit as well. Sure, sure, yeah, so it's coming handy.
Speaker 4: Yeah.
Speaker 5: Yeah.
Speaker 4: The album is called now this is one of those words.
I don't know if I can say it correctly on
the first stride out, I will try performical? Am I
saying that correctly?
Speaker 5: Yeah, that's correct. Yeah, performical.
Speaker 4: Yeah, performical. Is that a real word or is that
your word?
Speaker 5: It's a made up word. Just I don't know. It
came to me one day and it was just that said,
you know that that's the album, that's the title, performical.
Speaker 4: Well what is it?
Speaker 5: I think it comes go ahead, No, no, I was.
Speaker 4: Just going to ask you what does it mean? I mean,
obviously it's a made up word, but what does it
mean to you?
Speaker 5: I think it came from, uh, sort of an aberration, uh,
from my performing I performed in New York for many
years and I tended tended to be somewhat theatrical, and
I would use props and costumes to help interpret the
music as and that just you know, just I don't know,
somehow joined into the word. You know, well, I don't
want word that would be end with cl maybe but
al festival or you know, so just naturally sort of
adapted to performicle.
Speaker 4: Yeah, yeah, and you've got this is obviously a full
length album. What went into the decision to release us
as a full length and I asked that because and
this is kind of one of those questions I ask anybody,
because I'm always curious. We live in a time, as
you know, where there are so many different ways that
you can release music, different strategies. Some artists only release singles,
some release EPs, Some will release a series of singles
that eventually become an album. But wasn't an important to
you to release Perfronicle as an album? Is there is
there some sort of a cohesive theme running throughout these
songs or is it just or did it just seem
natural to do it this way?
Speaker 5: No, there was really no cohesive theme. I mean, all
the songs are very different if you look at it
from the outside. Yeah, but it became clear to me
to be taken serious as a serious artist, you really
have to release an album. I mean I was just
releasing singles for a while and that just wasn't cutting it.
And I looked around at all the other artists who
are working, and they're not doing that, They're releasing albums.
So I was like, yeah, that's what I have to do.
And so I pulled back and all the other stuff
and just sank my energy into this release. And you know,
hoping for the best. Released in September of this year,
and I actually tried releasing it once before, but I
wasn't happy with some of the recordings, and so I
re recorded some of the tracks because I was just
learning digital recording years ago. Yeah, so along with a
lot of other people, and so that's the way I
did it. Yeah, up till now.
Speaker 4: Yeah, do you where do you record? Do you record
at home? I mean it sounds like it's it's very
it sounds like this is very di I wy Do
you do all of that yourself?
Speaker 7: Oh?
Speaker 5: Yeah, definitely. Part of it was recorded in New York.
Part of it was recorded it's Sampiper Studio is here
in Cleveland. And part of it was recorded in Los
Angeles because a couple of the musicians were out there,
so they were turning in remote pieces. H gee, I
think it started all I was recording in a storage
unit in New York, New York City.
Speaker 4: Oh no kidding, Yeah, it wasn't.
Speaker 5: It wasn't ideal, but yeah, it's part of it was
a part of it. God done there.
Speaker 1: Yeah yeah.
Speaker 4: Yeah. So so now you're so, are you from New
York originally?
Speaker 5: No, from Cleveland originally, but I'm born and raised, but
I lived in New York about it was about twenty
eight years.
Speaker 4: Oh okay, no, it's a long time in terms of
the music scene. And because again you're doing something that's unusual.
Like I said, I can't think of anyone who sounds
quite like you. What was it like to do what
you do in New York? I assume that that if
there's anywhere in the country where you can do pretty
much just about anything you can think of musically, and
you're going to find some sort of an audience, right,
people are going to be interested. I would think that
New York City would be kind of the best place
to do something that is unusual and still be accepted
and have people want to participate in it and be
interested in it. Am I is my instinct correct about that,
And that's not to suggest that you don't have that
in Cleveland, but I assume in New York that's where
you really have that the most, where you can you
can create whatever you want to and there's going to
be some sort of audience for it. Am I Am
I correct in that.
Speaker 5: Oh, yeah, that's that's true. For the most part. You
can do anything in New York and somebody will relate
to it. Yeah, but it's tough as well. I mean,
a lot of the clubs in New York that you play,
it's you know, it's the lot of them ask you
how many people you bring in? You know, that kind
of thing, and it's just like, well, I'm just trying
to do this thing, man. I mean I'm not I'm
too busy. I'm not responsible for getting people through the door.
And a lot of the clubs really have to start
getting people in the old fashioned way, you know, when
people went to clubs and bars and stuff and you know,
whoever was playing was playing.
Speaker 2: You know.
Speaker 5: Now they want you to be the marketer too, and
it's just like, well, you know, wow, too many things
to do, you know. So yeah, it can be tough too.
But you can do whatever you want to New York
and let's see how it goes, you know.
Speaker 4: Basically, Yeah, do you still perform live? Do you perform
live in Cleveland?
Speaker 5: My last show was last November. Actually, now I haven't
really been performing here. It's probably even tougher here because
Cleveland's it's mostly cover cover bands and tribute bands and
and ben and if you're original, there's less places and
they really want bands here right now, I'm more of
a solo artist or perform as a duo, maybe with
a percussionist or something. So it's been tough here. So
I really started focusing on the recording. That's what I'm
doing now. I'm really laser focused on the recording. Because
when you at a certain point, if an artist has
you know, two, three, four albums in his head, I mean,
you know, he's really got a buckle down and get
to work. You know, he's this performing is great for
the ego, But I mean, what what what corporeal thing
do you have? The whole lot to you, it's really
the recordings.
Speaker 4: You know, right right? Has your sound changed over the years,
I assume it has. I assume it's changed and evolved.
Speaker 5: Oh definitely. A few years ago I founded a prog
band in New York City called Arta, and we were,
you know, just hard hardcore prague, you know, yeah, performing,
and uh so I decided to come out of the
dry ice and the flog a little bit and warm
up a little bit. And then I got I got
to worry and now more like you know, the the
synth pop, the prog pop, art pop, whatever you want
to call it maybe a little bit avant guarde avant guard,
a clue, you know, whatever you want to call it.
Speaker 4: Yeah, there's that. There's a term too that people use
a lot, experimental indie, which is almost kind of a
catch all for anything that's for anything that's unusual that
you wouldn't hear on commercial radio. But you don't you
don't really know what to call it. But but yeah,
I mean it's always hard to label these things, which
I think is a good thing when you're when you're
doing something that is hard to label because it's, like
I said, it's something that, uh, that is unique. Has
it has that always been important to you to do
something that's unusual, or have you ever played in in
just kind of a standard rock band, or has it
always been your, uh, your goal to do something that's
that's outside of the mainstream.
Speaker 5: Consciously? No, I think it maybe comes from, you know,
listening to all those bands and having an influence, being
influenced by all those bands, but not really listening to
a lot of music. I mean, when you're busy with
your own music all day. Yeah, by five o'clock, you
don't want to hear anymore news when it hurts to
hear music. Yeah, realistically. Yeah, And so I think just
naturally morphs into your own sound that way, rather than
you know, well I'm gonna I mean, of course, just
some times it's like I want to do something different here,
and you know, sometimes it works, sometimes it doesn't. But
I think it just naturally evolves, you know, that's the
best way anyway.
Speaker 4: You mentioned too when you were in New York, so
you would use a lot of props during your show.
Speaker 5: Oh yeah, Like if you look at the the the
cover of the album Performical, there's three series of pictures there.
Rum I'm actually removing a space helmet that I used
to come out in a space helmet and I would
stand there and then slowly move my arms in the
position and slowly remove the hell helmet and just stand
there for a minute.
Speaker 6: Yep.
Speaker 5: And you know, that was just one of the props
of the Society's game I think you played before. I'd
come out in just a little thing, a little accent
to you know, help interpret the song. I would come
out in a captain's hat. You know, sometimes it wasn't
I don't really like full to get into full costume,
you know. Changes. I think it's a bit much, but
you can use little things and sometimes you can throw on,
you know, a little half a costume, you know, to
help help interpret the piece.
Speaker 4: Yeah, yeah, I'm looking at the I'm looking at the
cover right now actually for Perfromical, so I can see
what you're talking about with removing the helmet. And yeah,
that's cool personally, I love that kind of thing. I love,
uh seeing theatrics and and uh oh yeah. Yeah. Are
are there any videos on YouTube of you performing live?
Speaker 5: There's a couple few, they're a little bit scattered, but yeah,
there's a couple things out there. I think there's one
from the the old Metropolitan Room. Yeah, it's more of
a cabaret jazz play. So I think I was one
of the few rock artists that was allowed to play there.
Oh no, kidding, Yeah, And there was a couple other
they're scattered though.
Speaker 4: There are videos though, yeah, oh okay, I'll have to
look for those. I'm actually very curious to see you
play live. Would you have you mentioned working with other
musicians on recording when you when you would play live
in New York, for example, did you have other musicians
join you there or because I would imagine this, there's
probably some a bit of a barrier there, right, because
it's not like like a singer songwriter who's just getting
on stage with a guitar. There's a lot of flexibility
there to have other musicians join him or her and
it you know, you can make it work. But I
would imagine for what you do, that's that's probably a
lot more challenging. Or maybe not.
Speaker 5: It can be challenging because getting people's difficult and people's
availabilities are different, so there might not be a lot
of chance for rehearsal time. But I would try to
use musicians whenever I could. I go out with a
bass player, I go out with the drummer. A couple
of times went out with a drummer and a guitar player.
You know, it just depends, you know. You know, people say, well,
you know, put a band together and be in a band.
I mean, you know, I don't know. Sometimes people realize
how hard it is to have five people together and
throwing their hat into the ring, you know, being all
in and going to show up somewhere and here and there,
and you know it's not gonna last very long with
people's you know, needs and availabilities and what they have
to be responsible for and committed to, you know, paying
the rent and all that. You know, Yeah, very difficult.
Speaker 4: It is challenging, I know from my own experience playing
in bands. And we had I wish I could remember
who said it. We had a guest on the show
once who said, being in a band, if you're in
a five piece band, it's like being in a relationship
with four other people at once who are all in
a relationship with four other people at the same time,
And it's it can be very, very challenging. And there
is a certain freedom that I've never experienced myself. I
only ever played in bands. I never did a solo thing.
But there is a certain freedom that comes with sort
of being the captain of your own ship, where you
don't have to depend on anybody else. You know, you
can do it all yourself. And and uh so that's
you know, that must be nice and and so I
I understand, I understand why you feel that way about
you know, the challenges of playing in a band, and
you know, maybe it's not necessarily worth it. But again
also too, what you're doing is is so unusual and unique.
What is that by the way. That's that tracks society's
game that we opened with. Is there is there a meaning?
Is there a specific message with the lyrics to that?
Speaker 8: Uh?
Speaker 5: A meaning? Well, it didn't Bob Dylan say once I
just wrote it. I don't know what it's about. H
I guess it's just about society. I mean, I think
the late the late two thousands, I was going to
a lot of society parties in New York City and yeah,
and then when the economies we had the different economy crashes,
the real estate and then the stock the tech bubble crash,
and then that that all kind of died out. So
it was kind of thinking about it, like, hmm, you know,
that was that was interesting. It was an interesting time
in the city. It's probably all come back now now,
but now I was thinking, you know, me, you know,
rubbing elbows with a lot of like movers and shakers
and royalty, celebrities, artists, uh, you know, everybody. And in
a way it was kind of cool. It was kind
of like a mini Studio fifty four in a way,
because I mean, here I was, I was just a
broke artist, you know, but everybody sort of accepted you.
But I did see lines and limitations, I mean, uh,
you know, and privilege, a lot of privilege and talking
about the kind of privilege that this uh comes with
something that's green, you know, and uh there's you know,
society uh boundaries and I want, I want to say rules,
but that's probably the wrong word. But you know, so
it you know, it has it has sort of a
meaning that uh uh loosely defines the the upper echelon
uh society in the East Coast there. Yeah, I would say, yeah,
And then part of it's kind of interpretive.
Speaker 4: Well, ultimately, I mean that really is the point, right,
you know, music or any kind of art, it's it's
really about what it means to the individual who is
enjoying that that art, and up to their interpretation. It's
it's all subjective, and I've always found it a little
disappointing when you know, if I listen to a and
it means something specific to me, and then I talk
to somebody or I read an interview or an article
where the musician who wrote it talks about what it's
about and it turns out to be something completely different
than what I interpreted it. As you know, I almost
don't want to know in that case, you know what
I mean, because I wanted to mean what it's supposed
to mean to me, and that's entirely subjective. So I
think there's value in creating art that can ultimately be
interpreted anyway, or in this case, anyway the listener wants
to interpret it. So I get what you're saying. I definitely,
I definitely get that.
Speaker 8: Well.
Speaker 5: I'm actually a big fan of that leaving room for
interpretation because yeah, like, for example, right now, I'm working
on an opus or a piece that I wrote a
lot of it back in the nineteen eighties and never
did anything with it, and that's going to probably be
my next project forwards, and where you could call it
like almost like a rock opera or a something or
a concept album, okay, And but the storylines is going
to be somewhat interpretive, because you know, the last thing
you want is people rolling their eyes. Where there's a
tight knit storyline or rock opera or something, it's just
ridiculous story I don't even know if the author knows
what it means anymore by the end of it. Right,
it's just like, oh, brother, you know I don't want
to be like that, right right? Want you want some
sort of structure there, but you don't want to be
go overboard.
Speaker 4: Right understood? Understood? Are you Are you already working on
new material actively because you strike me as someone who
probably has a lot of ideas.
Speaker 5: Well. That that's the thing. I mean. I still have
a couple of albums in my head, my solo stuff,
and then I got this project that I just talked about,
the Cuyahoga Project. So it's like I don't sit around
beating myself up about if I'm I'm not being creative
enough when you have a backlog of so much material
that you haven't even recorded, you know. So that's actually
a good place to be for an artist too.
Speaker 4: Well, I was going to say, it's actually a good
problem to have, right.
Speaker 5: It kind of is, because if without it, I think
I would be sitting around beating myself up over lack
of ideas and not being creative enough and just racking
my head.
Speaker 9: For ideas, right right, Yeah, no doubt I'd.
Speaker 5: Be My advice to any artists, you know, just build
up a backlog and you know, save your sanity, right Exactly?
Speaker 4: Do these songs, by the way, do they end up
at the end of the process, Do they ever end
up drastically different from what your initial idea was because
you're again with your music. It's it's unique, and there
seems to be a lot of I assume there's a
lot of room for experimentation as you're recording them. I mean,
do they ever end up? Do you ever end up
with a finished product where you go, Wow, that's completely
different than what I originally envisioned this particular piece to
sound like, Oh yeah, very much so.
Speaker 5: A lot of it A lot of times not not
not not conceptually or not lyrically because the lyrics, you know,
stay the same and they say the same thing. But
I'm all often surprised how songs change stylistically and sonically
and audio ly, if that was the word, mostly from
the instruments that happens to me. It was like the
other day I was recording a song for a future
album called Japantown, and it's about it a place in
San Francisco when I lived out there, and when I
want to add the guitar parts, I started getting all
these new ideas and I couldn't believe how drastically a change,
especially the ending of the song. Yeah, you know, but
that was a good thing though, but you never know,
and really until it's like a painting, you really never
know until they're done and you stand back and you
look at it say oh wow, I'm seeing all this
now and this and I didn't know come out like that.
And so yeah, it's a process.
Speaker 4: Absolutely.
Speaker 6: Yeah.
Speaker 4: I've heard Jenny say that, you know, she's a painter,
and I've heard her say, you know, when a painting
is done, or she feels it's done, she'll say, this
isn't what I This isn't what I intended it to
be when I started it, or I didn't think this
is what it was going to look like. But it's done.
Here it is, you know. But that's kind of the
adventure of it, right, creating, whether it's painting or music,
any kind of art. When it when it ends up,
there is something kind of cool about that, when it
ends up being something different than what you had originally intended.
As long as it is in a good way, as
long as it's something that you're happy with, that's kind
of the adventure of creating.
Speaker 5: I think, well, yeah, as long as you're happy with that, sure,
that's the key. There's there's some times who have recorded
stuff that I was. I didn't think it would come
out sounding like that. I want to hear what I
heard in my head.
Speaker 9: You know, right, this is a this is a disaster,
you know right, Yeah that that happens too, yeah, yeah,
oh yeah, And that's that's not such a great feeling
when you get to the end of it and you go, oh,
I wish i'd been able to actually.
Speaker 4: Play you know, what I had imagined or you know, yeah,
And I've certainly had that happen where it's like, geez,
I had this great idea, but I can't seem to
figure out how to translate it into actual, actual music.
Speaker 5: And there were there were two cover songs on the
album also, I wanted to mention that they came out
as some of the best songs on the album.
Speaker 10: Really well, So I have one song, oh yeah, go ahead,
go ahead, Oh no, go ahead, Tom finish her. I thought,
I'm curious, Well, this could be a long thought.
Speaker 5: That's why I asked you, Well, the one song I
want to be with You Tonight. That was a song
by a Cleveland band called Lipstick. Back in the day,
back in the nineteen eighties. I mean, you couldn't go
out to a club and not see that group. You know,
they were playing everywhere, and that song always kind of
stuck in my head. It was a good song, and
I think they released it. I think it charted a
little bit on Billboard. I'm not sure. I think it did.
But now I was sitting there on the studio one
day just playing some stuff and wondering how certain things
would sound. And I was like, I wonder if I could,
you know, learn a little part of that song, and
and and I when I played it back, and it
sounded really good, and I was like, wow, you don't
mentioned consider doing a cover version of this? And so
I did, and I thought it came out pretty decent. Yeah,
really groove. That had a groove to it. And I
think that was played that featured on George Norri Coast
to Coast.
Speaker 4: I am really George played that on that's I didn't know,
oh like his bumper music or the whole song? Did
did he actually play the whole thing?
Speaker 5: Oh? No, not the whole thing. Yeah, it was a
bumper piece, uh, one of the on one of the
Sunday night thingies that they do. But that was cool
and and and the other cover song things fall apart
that was a song by a Cleveland band called the Generators,
and there were late seventies, early eighties, and I had
a live recording that I found somewhere or something, was
a real tape of them, and the version of that
song on the tape was just lights out. It was
just fabulous. It was great, and it was I think
it was slower than the version that they released as
a single, which I didn't really care for that much.
But this version of the song really made it groove
and come out. And and so I was like, you know,
I want to do that. I want to I want
to do a cover of that song. And it's going
to be at that speed too. And I studied all
the parts that that one. I played all the instruments
on also, and studied all the parts. I kept them
to well what you then, their natural form, how they
were played by the various musicians. I tried to keep
it as true as as possible to the original performances
and studied all the parts and actually played the drums
on that too.
Speaker 4: Oh okay, very cool. Well we're going to in a moment,
we're gonna play I want to be with You tonight.
That's how we will end the segment. But Tom, I
really appreciate you joining us this morning. This has been interesting.
Like I said, your music is quite fascinating to me
before we let you go, and like I said, we'll
end with that track. I want to be with you
tonight since you were just talking about it a moment ago.
But anything we should know about, where's the best place
to go to find you online for people who want
to keep up with everything that you're doing. Uh, check
out your music. I don't know if you have any
live shows coming up, but where should people go online
to keep up with Tom Modern?
Speaker 5: All I can say about that is the different streaming
and download platforms. You know, we all we all know
what those are. And because I don't have much of
an online presence right now because recently I was thrown
off of Facebook for promoting my album to radio stations
and and so I'm not on Facebook anymore. Oh so
I don't have a tommodern dot com yet. Yeah, maybe
in the future. Yeah, So you know, the best way
is streaming and download because these other social platforms, you know,
I don't get them, man, And you're.
Speaker 4: You're very easy to google. You're very googleable. As I
like to say, if you just google Tom Modern music,
everything comes right up. So I encourage people to find
you that way too. But uh we will uh yeah,
we will close out the segment with this track I
want to be with you tonight. But Tom Modern, I
appreciate you calling in. Uh it was a it was
a little rough with Skype, but we figured it out
and the phone connection got a lot better. So so
it's wonderful to talk with you. And we will have
to do this again in the future.
Speaker 5: All right, Matt's fun talking man.
Speaker 4: All Right, Tom, thank you. We'll let you go, and
I'm gonna hit this track all right, take care by
bye bye. All right, everybody, that was Tom Modern. If
you are listening live on Saturday morning, we have Willie
Chase coming up next for the third hour. In fact,
he has already arrived. I gotta go let him in.
But check this out. This is called I Want to
be with you tonight. This is Tom Modern.
Speaker 1: I don't know if I tot it.
Speaker 6: I don't didn't trust him, bid.
Speaker 8: I can't believe that.
Speaker 1: I hear myself saying I believe in magic side and
I don't want you that rather bout me.
Speaker 6: I don't want you may promises.
Speaker 1: I don't want you'll tell you.
Speaker 3: I just want you to love it.
Speaker 2: I want to.
Speaker 6: Remember the first time I saw.
Speaker 4: I remember when you cried.
Speaker 5: You don't want you.
Speaker 1: That's so ashamed.
Speaker 4: But I mean everything I write, don't.
Speaker 1: Double crises that don't you gonna tell me about I
just want you to let him.
Speaker 9: Aga.
Speaker 4: If I have to say that, I don't even chuck.
Speaker 6: It a ride.
Speaker 1: I can leader here, but they'll say, I don't leave
the magical side. And I tell him what you got
brother about me?
Speaker 4: I don't want us make promises.
Speaker 1: I tell him what you tell me black Bam, I
chance fault you. But then I don't want you right
a me.
Speaker 5: I tell him why you make promises. I tell him mom,
you must come at nam.
Speaker 1: I try to qult you.
Speaker 5: And if I don't want to.
Speaker 2: Watch and I want, I don't.
Speaker 1: Want about this wild evening said that tell them I
don't want to go a ride so long to take
down just as.
Speaker 3: The making us.
Speaker 1: I don't talking the young.
Speaker 11: And we waited outside the streets and oh my head
and happy down Jesus all.
Speaker 1: So he said, advising one, you want me on the
time with the time, he said that anything seems tell
me my child say not to the times. I wish
she had a change.
Speaker 8: Its funny open. So these days I'll do.
Speaker 7: Well.
Speaker 5: Let's talk about the pictures actors.
Speaker 3: But then it tames them all back then.
Speaker 12: That you a lot of going out.
Speaker 6: With nobody do.
Speaker 3: I just need this?
Speaker 2: Is it?
Speaker 6: It's not.
Speaker 1: Months, not the fun.
Speaker 9: Father wish you not a thing.
Speaker 1: O things for starting.
Speaker 11: I know some take up, but I gotta know the
we don't.
Speaker 1: We Conna beepp I know another sony to be share
game again. It didn't need anything, must say it didn't
made any.
Speaker 4: Listen to another.
Speaker 1: Enough to try to turn our cars.
Speaker 13: But I wish you had change.
Speaker 1: Only of things.
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Speaker 14: We listened to our music at.
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Speaker 7: Program Late Night to Light with DJ Midas right here
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Speaker 19: Behold the harmony of airwaves as you immerse yourself in
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Speaker 4: This is Eleanor Langthorne from Vices Inc. And you're listening
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Speaker 14: W m n h.
Speaker 6: M hm, time stands still.
Speaker 8: Feel my.
Speaker 6: Drink mop bo pulling air into my chest. Ah, I know.
Speaker 18: It isn't instant dandy, It's gone air and flow. Let
the current take me time, Let's time, let's time. We
are last time at Thing.
Speaker 2: Time is.
Speaker 3: Lest till morning Sunday. Second stroll.
Speaker 7: You'll up my glass san zero, leave me over, take
me back, whine my day.
Speaker 11: Do the lifeple dless song sample again to that summer
felt so.
Speaker 13: So never read of walking due dancing across the surface
of the sun, goes around, chasing it down.
Speaker 3: He's eat it body have it's slip.
Speaker 15: So oh.
Speaker 11: Time, let's time. Let's time. We last time then thing time.
Speaker 6: List, time list.
Speaker 3: Moment Saturday.
Speaker 4: Oh my god, that is great. That's brand new.
Speaker 20: Huh thanks man, Yeah, brand new.
Speaker 4: Wow, that is fantastic. If you're just joining us, Willie
Chases here with us live in studio on this Saturday morning.
That's very cold Saturday morning. But yeah, that's how new
was that? You said you just wrote that with a
friend who didn't know you were going to play it tonight.
Speaker 6: Is that that's pretty accurate.
Speaker 20: We just had our last co writing session maybe a
week ago, and I had written the song thread probably
five or six months ago. It sat for a while
in my in my voice notes, yeah, on iPhone, as
a lot of them do. And then I threw it
over to my friend Ian Gallipo, who's from the Keen area,
and he liked it, kind of wrote a chorus to it,
maybe some verse parts I think, and then we just
put our heads together over a video chat and kind
of hammered it out. I had written that bridge, and yeah,
it kind of came together and then I was kind
of like, holy cow, we have a song, you know
what I mean, which is a really cool moment as
a songwriter.
Speaker 4: I feel like Ian Gallipo is a name that's come
up on the show. I don't think he's ever been on.
I would say I don't think he's ever been on,
because it does become I've been doing this a long time.
It does become a little bit of a blurk, of course,
But I don't think he's been on the show. But
I feel like his name comes up a lot on
the show.
Speaker 20: Yeah, he's awesome. So I work a lot with the
New Hampshire Music Collective.
Speaker 4: That might be how i've well, I've heard his name, yeah, yeah, so.
Speaker 20: He's he's you know, a member of the collective as well,
does all sorts of stuff with that and other things.
But that's how I met him. And he's great man.
If you've never heard his song little Things, check it out.
It's a gut wrencher be ready to cry. Yeah, But
he's just an incredible lyricist. He's an incredible musician and
down to earth guy. You know, he's really enjoyable to
be around. So I had a really good experience writing
with him, you know, in the level that I'm at
right now, there's no skin in the game really, you
know what I mean. I'm kind of just starting out
on the songwriting journey over the last few years really.
Speaker 6: Yeah.
Speaker 20: And I've been a musician my whole life. I can
fill you in on in the backstore if you want.
But but with the end, it's just great because we
it's just pure creativity, you know what I mean, two
musicians hanging out writing a song. There's no pressure to
do anything. And for whatever reason, I was just kind
of had that feeling when we were doing that together
and and and that's what it's all about for me. Yeah,
those kind of experiences and writing music and being just
purely creative.
Speaker 4: No doubt. So you you've been a musician for a
long time, as you said, but you only started writing
songs a few years ago.
Speaker 20: Yeah, I mean, I quote quote have written other stuff.
Speaker 5: Yeah.
Speaker 20: I was a horn player in high school. I was
our class instrumentalist. I was in like every music group,
did all of it, show choir, I did a lot
of theater.
Speaker 14: I was.
Speaker 20: I started in high school musical when I was in
high school, all sorts of you know of stuff to
lead me on my musical journey. And then I kind
of I kind of went a totally different direction for
the last decade. I got a degree in resort management
and have worked at ski resorts and done all men
of other things. But I never put down the guitar.
That's kind of what kept it alive for me. And
then yeah, like three years ago, I had a really
good friend who was living around here, and she convinced
me to go to an open mic up at Patrick's
Pub in Guildford, New Hampshire. That's where I met John MacArthur,
who's one of the owners of the New Hampshire Music Collective.
Speaker 4: Yeah, we had him on the show. He's great.
Speaker 20: Yeah, he's awesome. Can't say enough good things about him.
And you know, especially in this context with the opportunities
he's given me playing a lot of these bar gigs
and stuff around here, which is just it's like with anything, right,
if you want to be really good, you got to
just put in time and hard work. It's kind of
the grind that I've been on these last few years
since doing that. And then you know, I've, like I said,
I've been a musician my whole life, and I have
a really I lean really heavily on my ear, Yeah,
and I can be judgmental in that way. So I think,
as most musicians will probably tell you, there's a lot
of stuff that goes on with songwriting in terms of
being hyper critical of yourself and self confidence, releasing tracks
and everything. So you know, it's a slow process. But
I'm in early production of making a record hopefully, and
you know that might be one of the songs that's
going to be on it.
Speaker 4: Oh, I hope.
Speaker 20: So yeah, it deserves That's totally good. Yeah, that's very
kind of youat to say. I Yeah, it's it's something
I'm really interested in. But like I said, it's it's
just tough not to be able to overly critical. But
at this point in my life, on my early thirties,
I I feel like it's a really good place to
be doing what I'm doing with music. I think that
if I had gone right into music school like I
kind of wanted to after high school, after doing all
that stuff, I don't think it would have gone well.
I think I was on the edge of burnt out
really because yeah, I mean we had as been practices
every morning before school. At six point forty, it was
taking trumpet lessons. It's just completely saturated in music. Yeah,
and not really knowing, you know, at that point in
my life, you know, late teens, early twenties, you're just
figuring out who you are, right. So all the experiences
I've had over the last ten years of not being
involved in music, I think have just fueled this crazy
fire that I have now to write and collaborate with
people and just really like I just started taking guitar
lessons a couple, you know, maybe a month or two ago,
with a really great guy. So I'm actually putting some
of the old theory, knowledge that I have to use
with like the fifteen years of guitar playing, just playing
songs that I like to hear and play. Yeah, So
it just feels really, really awesome, and I'm really grateful
to be here doing what I'm doing now.
Speaker 4: You know, during the span of time where you you know,
you had kind of gotten away from it all, did
you always kind of know that you would come back
to it, or did you really at the time kind
of feel like you know that was you know, I'm
sort of done with that. I'm sort of burnt out
on it.
Speaker 20: If you asked me that question years ago, I probably
would have told you the latter. I probably would have
told you now, you know, And I think that comes
from being jaded and my no, through no fault of
his own, My trumpet teacher was one of the ones
who convinced me not to go to school for like
performance really yeah, which how much of that was actually
him and how much of it was in my head?
I can't really tell you, but you know, and his
point was very valid. You know, forty years ago, there
was just so many horn players working in places like
New York, Boston, you know, all these clubs and theaters
had live orchestras, and now it's just a percentage of
what that was. So yeah, the statistics just make it
pretty daunting. Yeah, but I think subconsciously, very deep down there,
to answer your question, I think it was inevitable of
coming back to music. I mean, it's just such a
part of me. It's part of who I am, been
part of who I am since a very young age.
And like I said, you know, I rely heavily on
my ear. I don't like to say I have a
good ear because it's like, what does that mean.
Speaker 17: But