1
00:00:00,120 --> 00:00:02,279
Speaker 1: Right now joining us. So let me get these mics

2
00:00:02,359 --> 00:00:05,160
up here. We have so Magan his return, well technically

3
00:00:05,160 --> 00:00:07,280
they're both making returns to the show, but we do

4
00:00:07,360 --> 00:00:11,800
have Jesse Rotstein here. Hello, Jesse, Hello, welcome, Thank you

5
00:00:11,839 --> 00:00:13,640
for having me. Anxious to talk to you about the

6
00:00:13,679 --> 00:00:16,039
new EP, anxious to talk about it and share some

7
00:00:16,320 --> 00:00:18,640
share some tunes from it, and uh and get into it.

8
00:00:18,679 --> 00:00:20,399
This is your Is this your second.

9
00:00:20,199 --> 00:00:22,039
Speaker 2: Time on the show? This is my second time on

10
00:00:22,079 --> 00:00:22,320
the show.

11
00:00:22,440 --> 00:00:25,239
Speaker 1: Yeah, okay, And you have with you so you brought

12
00:00:25,320 --> 00:00:28,800
Caleb Caleb Diris here. Hello, Caleb, Hello, Hello, Now this

13
00:00:28,960 --> 00:00:30,800
is your I think this is your second time on

14
00:00:30,839 --> 00:00:33,159
the show, but you don't correct, you don't remember the

15
00:00:33,159 --> 00:00:34,359
original time. But that's okay.

16
00:00:34,399 --> 00:00:38,640
Speaker 3: I recall being on TV, yeah, on the Public Access

17
00:00:38,679 --> 00:00:43,759
TV with with fellow representative Gary Gary Hopper, Gary Hopper Lake,

18
00:00:43,799 --> 00:00:47,399
Gary Hopper Lake, Carrie Hopper. Yes, and uh, I so

19
00:00:47,520 --> 00:00:52,640
you tell me immediately thereafter or something to that effect, Right.

20
00:00:52,600 --> 00:00:54,320
Speaker 1: It was, it was before, it was just before, it

21
00:00:54,399 --> 00:00:55,039
was right before.

22
00:00:55,119 --> 00:00:58,159
Speaker 3: Yeah, that that makes sense as well, that I was

23
00:00:58,200 --> 00:01:01,159
on your show. And I fully accept that because I

24
00:01:01,159 --> 00:01:03,880
did a few different radio I did radio. I think

25
00:01:03,920 --> 00:01:08,439
in Texas in a couple other state Michigan as well.

26
00:01:08,640 --> 00:01:10,640
Yeah for stuff all around that time.

27
00:01:10,799 --> 00:01:12,920
Speaker 1: Yep, yep, yeah, that day you you were on with

28
00:01:12,959 --> 00:01:15,680
Brandon Finnie and I think you guys were both state

29
00:01:15,680 --> 00:01:17,719
reps at the time of front indeed.

30
00:01:17,680 --> 00:01:20,599
Speaker 3: Much like the honorable jenk Coffee, except we were in

31
00:01:20,239 --> 00:01:24,280
the legislature right after you left, right.

32
00:01:24,400 --> 00:01:26,640
Speaker 1: Yes, I left in twenty twelve.

33
00:01:26,959 --> 00:01:29,920
Speaker 3: Okay, yeah, so one separated by one term in between

34
00:01:29,920 --> 00:01:30,519
the Yeah.

35
00:01:30,560 --> 00:01:34,120
Speaker 1: Yeah, yep, yep. And Brandon's been on the show with Vigil.

36
00:01:34,280 --> 00:01:35,719
Oh excellent, yea, yeah, excellent.

37
00:01:35,879 --> 00:01:38,719
Speaker 3: I'm so glad all of that former state reps doing music.

38
00:01:38,920 --> 00:01:44,319
So much more productive and beautiful, no kidding, much healthier

39
00:01:44,359 --> 00:01:46,359
for the song indeed, Yes.

40
00:01:46,159 --> 00:01:49,079
Speaker 1: And I love Brandon's band. Vigil is absolutely amazing.

41
00:01:49,200 --> 00:01:51,280
Speaker 4: They're very good, absolutely heavy.

42
00:01:51,439 --> 00:01:54,040
Speaker 1: But so Jesse. When you were on with us, before

43
00:01:54,640 --> 00:01:57,239
I think you you had released you had released a

44
00:01:57,239 --> 00:01:59,799
couple of songs I think as singles or refreshed my memory.

45
00:02:00,159 --> 00:02:06,599
Speaker 2: So this entire project is being produced by myself and Caleb,

46
00:02:06,840 --> 00:02:10,280
and I had released two singles basically to just work

47
00:02:10,280 --> 00:02:14,520
out the kinks leading up to the EP, because I

48
00:02:14,520 --> 00:02:17,919
didn't know what I was doing now I'm my own

49
00:02:18,000 --> 00:02:22,599
record producer in addition, in addition to being the singer, songwriter,

50
00:02:23,240 --> 00:02:26,759
musician and all of it. Yeah, so I did work

51
00:02:26,759 --> 00:02:29,599
out all the kinks. We released Stay Anywhere and Dear

52
00:02:29,680 --> 00:02:34,960
Baby Gene first, and those two songs are on the EPA,

53
00:02:35,919 --> 00:02:39,199
along with On Your Toes, Getting Nowhere and Lost in

54
00:02:39,240 --> 00:02:39,520
It All.

55
00:02:40,080 --> 00:02:42,560
Speaker 1: Yeah. I remember, yeah, you played it because last time

56
00:02:42,560 --> 00:02:43,800
you hear you played live, and I think you had

57
00:02:43,800 --> 00:02:45,479
played Dear Baby Jeen live in studio.

58
00:02:46,639 --> 00:02:49,919
Speaker 2: You played the recording Dear Baby Gene I had played

59
00:02:50,080 --> 00:02:53,000
On Your Toes and Superhero Toys.

60
00:02:53,159 --> 00:02:56,319
Speaker 1: Oh okay, yeah right, okay, yeah, it becomes a blur.

61
00:02:56,879 --> 00:02:57,240
Speaker 5: You know what.

62
00:02:57,439 --> 00:02:59,120
Speaker 1: Dear Baby Gen, though, stands out in my mind because

63
00:02:59,120 --> 00:03:00,840
I remember you talking about saying, you know, someone was

64
00:03:00,879 --> 00:03:03,479
going to be mad when they heard it or very interesting.

65
00:03:03,599 --> 00:03:05,120
So I have to ask you a follow up question.

66
00:03:05,159 --> 00:03:07,120
I am a journalist, after all, were they?

67
00:03:09,000 --> 00:03:11,319
Speaker 2: I don't know. We haven't talked about it. This person

68
00:03:11,439 --> 00:03:14,479
is very close to me in a in a family

69
00:03:14,599 --> 00:03:17,599
kind of way, and we get along just fine.

70
00:03:17,599 --> 00:03:18,319
Speaker 1: Now that's good.

71
00:03:18,360 --> 00:03:20,439
Speaker 2: We get along just fine. But my art is my art.

72
00:03:20,560 --> 00:03:23,280
I released I wrote the song two years ago. We

73
00:03:23,319 --> 00:03:28,919
released it and that you know, would I do like

74
00:03:29,159 --> 00:03:33,599
instead of getting angry or sad and I just put

75
00:03:33,599 --> 00:03:35,599
it all into my music. So you know, you ever

76
00:03:35,639 --> 00:03:37,240
want to know what I'm thinking, just listen to my

77
00:03:37,319 --> 00:03:38,800
latest my latest releases.

78
00:03:40,520 --> 00:03:42,360
Speaker 1: Well, it's like we talk about this comes up all

79
00:03:42,400 --> 00:03:44,240
the time on the show. How I mean, isn't that

80
00:03:44,319 --> 00:03:46,000
kind of the best way to work through things is

81
00:03:46,000 --> 00:03:48,479
through creativity? Oh yeah, I mean, I mean what better

82
00:03:48,520 --> 00:03:51,039
therapy is there than that? Then then taking something, especially

83
00:03:51,080 --> 00:03:53,120
if it's something really negative, something that maybe has caused

84
00:03:53,120 --> 00:03:56,280
trauma anything at all, and creating something from it. I mean,

85
00:03:56,280 --> 00:03:57,560
that's what's better than that. You know.

86
00:03:58,000 --> 00:04:00,479
Speaker 2: That's how this whole thing happened. Yeah, that's how this

87
00:04:00,520 --> 00:04:04,439
whole thing happened. Last year twenty twenty four, I had

88
00:04:04,479 --> 00:04:06,960
a very turbulent twenty twenty four. I won't for you

89
00:04:07,039 --> 00:04:10,120
with the details, but it was a very sad, sad

90
00:04:10,199 --> 00:04:14,680
time in my life. And uh, I had stopped playing

91
00:04:14,759 --> 00:04:18,240
music and it was I was in I was in

92
00:04:18,319 --> 00:04:25,160
a bad place. And around December January ish, this guy

93
00:04:25,879 --> 00:04:29,639
just said, enough, dude, enough, let's get back in the studio.

94
00:04:30,839 --> 00:04:32,920
Let's get these songs going. Because we had we had

95
00:04:32,959 --> 00:04:38,240
a bunch of material from from before that we were

96
00:04:38,279 --> 00:04:41,959
working on, and that's what I did, and music was

97
00:04:41,959 --> 00:04:45,199
my therapy. I'm, you know, doing a lot better now.

98
00:04:45,279 --> 00:04:48,000
I'm on I'm on fire right now. I'm like I

99
00:04:48,120 --> 00:04:52,120
was on the radio in Nashua the day after the release.

100
00:04:52,199 --> 00:04:59,120
I was pumped, and I'm just the music saved me.

101
00:04:59,360 --> 00:05:01,480
The music saved because I was not not in a

102
00:05:01,519 --> 00:05:01,959
good way.

103
00:05:02,199 --> 00:05:05,319
Speaker 3: And Caleb, I've seen them before and after I can attest.

104
00:05:05,680 --> 00:05:08,360
Speaker 2: Yeah, it was tough love too. He wasn't nice about it.

105
00:05:08,480 --> 00:05:09,120
Speaker 4: No, I wasn't.

106
00:05:09,240 --> 00:05:10,160
Speaker 2: Yeah, he wasn't.

107
00:05:10,240 --> 00:05:12,879
Speaker 3: But I was like, you, you are too good of

108
00:05:12,879 --> 00:05:16,480
a songwriter to not be doing this and doing it

109
00:05:16,560 --> 00:05:17,279
with you know.

110
00:05:17,279 --> 00:05:19,959
Speaker 4: The full effort that it requires to do it.

111
00:05:20,160 --> 00:05:24,519
Speaker 3: Yeah, you know, I've been basically since I stopped kind

112
00:05:24,519 --> 00:05:27,680
of doing all political things, I've been doing music pretty

113
00:05:27,720 --> 00:05:28,319
much full time.

114
00:05:28,480 --> 00:05:30,319
Speaker 1: Yeah, name comes up a lot on the show.

115
00:05:30,480 --> 00:05:33,519
Speaker 3: Yeah, I'm I'm sure it does. Yeah, I do get

116
00:05:33,560 --> 00:05:36,879
around at this point, you know. I uh, I've been

117
00:05:37,040 --> 00:05:40,240
been doing it, and I've been trying to be kind

118
00:05:40,240 --> 00:05:43,519
of a side man for not just Jesse, but as

119
00:05:43,560 --> 00:05:45,759
many people as I can to try to, you know,

120
00:05:45,839 --> 00:05:48,040
find people who I think, man, they're doing something really

121
00:05:48,120 --> 00:05:51,000
nice and let's let's take it. And that's actually the whole,

122
00:05:51,360 --> 00:05:53,839
the whole impetus for Hatchet, Acs and Saw, which is

123
00:05:53,920 --> 00:05:55,600
kind of this is the first time we're kind of

124
00:05:55,680 --> 00:05:56,680
publicizing this.

125
00:05:56,600 --> 00:05:58,680
Speaker 2: Week we saw.

126
00:05:58,800 --> 00:06:01,720
Speaker 3: We've softly launched it. Now today is kind of the

127
00:06:02,040 --> 00:06:05,560
I guess the world premiere. But we're not trying to

128
00:06:05,600 --> 00:06:07,319
solicit a whole lot of clients right now. We we

129
00:06:07,439 --> 00:06:10,720
kind of want to focus on just people we know locally,

130
00:06:10,839 --> 00:06:16,079
who you know, are producing really good original art. And

131
00:06:16,079 --> 00:06:19,279
and you know, the impetus for that was these two songs,

132
00:06:19,360 --> 00:06:23,759
these the two singles that that Jesse released, but specifically

133
00:06:23,759 --> 00:06:27,439
Dear Baby Gene. For me at least, was listening to that,

134
00:06:27,600 --> 00:06:31,639
listening to the quality of what we put out and

135
00:06:31,639 --> 00:06:34,959
and and what that song was, and and it got

136
00:06:35,000 --> 00:06:37,279
me thinking, I'm thinking, like, how can we take this

137
00:06:37,480 --> 00:06:40,319
what we're doing right now, Jesse and I and turn

138
00:06:40,360 --> 00:06:44,160
this into a business model and apply it to well

139
00:06:44,199 --> 00:06:47,879
beyond just the two of us. And you know, I mean,

140
00:06:47,920 --> 00:06:49,959
I obviously I have some selfish motivations.

141
00:06:50,000 --> 00:06:50,879
Speaker 4: Eventually I would like.

142
00:06:50,879 --> 00:06:53,240
Speaker 3: To record or re record some of my own tunes,

143
00:06:53,279 --> 00:06:56,639
which are as of yet unreleased, but I I principally

144
00:06:56,639 --> 00:06:59,519
do want to do this to get you know, other

145
00:06:59,759 --> 00:07:03,759
very talented artists like you know uh a band that

146
00:07:03,800 --> 00:07:07,720
I currently play with, Crank and Wagon. You know, we're

147
00:07:07,720 --> 00:07:11,120
eventually going to record some sort of of album I'm

148
00:07:11,199 --> 00:07:14,439
sure in the next year, and you know, we we

149
00:07:14,480 --> 00:07:15,959
want to get that out, but we also want to

150
00:07:16,000 --> 00:07:19,680
get out like Cosmic Blossom. If you're not familiar with

151
00:07:19,800 --> 00:07:24,040
Nick Burns and in the the genius of of that

152
00:07:24,040 --> 00:07:28,360
that group and the music that they put out, get familiar.

153
00:07:28,839 --> 00:07:31,199
Speaker 2: But the Cosmic Blossom absolutely and and.

154
00:07:31,160 --> 00:07:34,759
Speaker 3: One of the playing is oh yeah, I I've talked

155
00:07:34,759 --> 00:07:36,879
with Nick. He's going to be doing the artwork for

156
00:07:37,040 --> 00:07:41,000
Hatchet Acts and so cool, but we've both discussed that

157
00:07:41,079 --> 00:07:46,160
with him, but also getting Cosmic Blossom in to do

158
00:07:46,399 --> 00:07:49,079
one of my tunes. So I've got a very funky

159
00:07:49,120 --> 00:07:50,959
tune that I think that they would do very well with.

160
00:07:51,000 --> 00:07:54,519
And yeah, it's very tentative. I know Meg is you

161
00:07:54,519 --> 00:07:56,279
know Meg and Nick. Of course they're going to have

162
00:07:56,639 --> 00:08:00,360
their child very soon for uh early congratulates to.

163
00:08:00,360 --> 00:08:01,319
Speaker 1: Them my gratulations.

164
00:08:01,800 --> 00:08:02,519
Speaker 2: I saw Meg.

165
00:08:02,399 --> 00:08:03,480
Speaker 4: Yesterday at Troutstock.

166
00:08:03,560 --> 00:08:06,079
Speaker 3: She was rocking out with the phut the young one

167
00:08:06,079 --> 00:08:08,439
in there, so that kid's gonna come out rocking.

168
00:08:08,639 --> 00:08:09,839
Speaker 1: So yeah, very cool.

169
00:08:10,439 --> 00:08:12,879
Speaker 4: But anyhow, you know.

170
00:08:12,800 --> 00:08:16,800
Speaker 2: It's actually really it's funny we're talking about cosmic because

171
00:08:16,959 --> 00:08:21,319
Nick is actually on the song On Your Toes. He

172
00:08:21,360 --> 00:08:26,199
plays the lead guitar and he absolutely that he transformed

173
00:08:26,279 --> 00:08:30,040
that tune and it was it was one of the

174
00:08:30,279 --> 00:08:34,519
It was the first song that actually I was like, yep,

175
00:08:34,840 --> 00:08:37,399
I'm not just releasing singles. This is gonna be an ep.

176
00:08:38,679 --> 00:08:41,679
The song is about my daughter. It's a beautiful, beautiful

177
00:08:42,399 --> 00:08:46,679
like ode to dancing. She my daughter's a ballerina. She

178
00:08:46,679 --> 00:08:49,240
she dances on point shoes and for those that don't

179
00:08:49,320 --> 00:08:52,360
know what that is, it's it's like their little pieces

180
00:08:52,399 --> 00:08:55,039
of wood that that's how the ballerinas spin the way

181
00:08:55,039 --> 00:08:57,000
they do that go in the bottom of their shoes.

182
00:08:57,879 --> 00:09:01,120
And the song was about how nervous she was about

183
00:09:01,159 --> 00:09:05,080
getting on that, you know, and learning it, and then

184
00:09:05,120 --> 00:09:07,559
the first time that I actually saw her do it,

185
00:09:07,960 --> 00:09:11,919
and it was I mean, she's my daughter, so I'm biased,

186
00:09:12,000 --> 00:09:14,960
but she's a magnificent person to begin with and a

187
00:09:15,039 --> 00:09:18,000
wonderful dancer, and it was the first time that I

188
00:09:18,000 --> 00:09:20,480
saw her dance on her toes, and this song started

189
00:09:20,519 --> 00:09:23,799
off as just me an acoustic I remember, Jen, you

190
00:09:23,879 --> 00:09:25,720
said that was the one you liked the most when

191
00:09:25,759 --> 00:09:29,879
I was here last, and so I was like, all right,

192
00:09:31,720 --> 00:09:35,320
going along with the turbulence from twenty twenty four. There

193
00:09:35,360 --> 00:09:37,519
was a breakup involved, and there was a song that

194
00:09:37,600 --> 00:09:40,000
I wrote for the person that I'm no longer with,

195
00:09:40,759 --> 00:09:44,519
and I didn't want to play that song anymore. But

196
00:09:44,639 --> 00:09:48,440
the drums Seth Cedars, huge shout out to Seth Cedars,

197
00:09:48,480 --> 00:09:51,720
our drummer mad man, he's the best in the business.

198
00:09:53,080 --> 00:09:55,279
But the drum track was so good. I'm like, I

199
00:09:55,360 --> 00:09:55,879
can't get.

200
00:09:55,799 --> 00:09:57,159
Speaker 1: Rid of these drums right right?

201
00:09:57,240 --> 00:10:00,039
Speaker 2: What am I going to do? And it just so

202
00:10:00,320 --> 00:10:04,159
happens that the chords to the prior song and my

203
00:10:04,279 --> 00:10:06,960
daughter's song are the same chords. So I was like,

204
00:10:07,080 --> 00:10:09,480
all right, let me see if I can work something

205
00:10:09,519 --> 00:10:13,519
out here. So I literally went in, chopped his drums

206
00:10:13,559 --> 00:10:17,200
tracks up and moved things around, and it worked perfectly

207
00:10:17,240 --> 00:10:19,399
with the acoustic guitar on the bass, and that's what

208
00:10:19,480 --> 00:10:21,720
I thought it was gonna be, just this acoustic tune.

209
00:10:22,200 --> 00:10:24,720
And then we had Peter Davis from No More Blue

210
00:10:24,720 --> 00:10:28,000
Tomorrows come in and play lead guitar on Dear Baby Jean.

211
00:10:28,080 --> 00:10:29,879
So I'm like, all right, maybe I'm going to ride

212
00:10:29,919 --> 00:10:32,240
this train a little bit, which is exactly what I did.

213
00:10:32,519 --> 00:10:36,960
I have so many wonderful musicians that were on these tracks,

214
00:10:37,080 --> 00:10:39,120
and so I was like, you know, I was chatting

215
00:10:39,200 --> 00:10:42,159
with Peter and Nick one day and I said to Nick,

216
00:10:42,200 --> 00:10:44,679
I was like, I got a great song for your style.

217
00:10:44,759 --> 00:10:47,639
You want to come down, And I mean, Nick, Nick

218
00:10:47,679 --> 00:10:50,399
Burns is a beast, and I'm kind of making this

219
00:10:50,440 --> 00:10:53,120
whole interview about Nick, but but we love you, Nick, indeed,

220
00:10:53,639 --> 00:10:58,720
we love you. But he came down, and I didn't

221
00:10:58,720 --> 00:11:02,120
know what he was going to do. Cosmic is a

222
00:11:02,200 --> 00:11:08,039
very freeformed band, where my stuff is like, it's not intricate,

223
00:11:08,159 --> 00:11:11,279
but there are parts, you know. So Nick came down,

224
00:11:11,840 --> 00:11:15,720
put down his pedal board, turned the guitar on. He's like,

225
00:11:16,159 --> 00:11:18,080
you got an amp. I'm like, oh yeah, it was

226
00:11:18,120 --> 00:11:23,159
actually Chris Drew's amp. Chris Drew and we plug Nick

227
00:11:23,200 --> 00:11:28,840
in and he he just transformed the tune and when

228
00:11:28,879 --> 00:11:31,559
you play it, you'll be able to hear it. But

229
00:11:31,600 --> 00:11:34,399
he just transformed the song into something that I never

230
00:11:34,639 --> 00:11:37,919
thought it would ever be. So I was like, all right, well,

231
00:11:37,960 --> 00:11:41,440
I got this great tune, but why stop there. Caleb's like,

232
00:11:41,480 --> 00:11:44,639
this needs keys, great, put some keys on it. I'm like,

233
00:11:44,639 --> 00:11:47,559
all right, my song's done. This is a beautiful, beautiful song.

234
00:11:48,840 --> 00:11:51,360
But then I was talking to my buddy Patrick Matthews,

235
00:11:51,639 --> 00:11:54,000
who plays saxophone, and I was like, you know what,

236
00:11:54,799 --> 00:11:57,279
maybe some saxophone on this song. And then Patrick came

237
00:11:57,360 --> 00:12:02,320
down again just like Nick. Uh super pros. These guys,

238
00:12:02,399 --> 00:12:06,360
like everybody that's been involved in this uh, just really professional.

239
00:12:06,399 --> 00:12:09,879
And Patrick came down and basically transformed the song again,

240
00:12:10,240 --> 00:12:16,960
and I was like, okayanntes, Yeah, I think Nick's session

241
00:12:17,120 --> 00:12:19,159
was was just around the same amount of time.

242
00:12:19,320 --> 00:12:19,679
Speaker 5: Just uh.

243
00:12:20,000 --> 00:12:23,000
Speaker 3: I mean in the actual taking, the tracking was like

244
00:12:24,279 --> 00:12:26,159
very little of that it was And I.

245
00:12:26,080 --> 00:12:27,960
Speaker 2: Had never I don't think you have either. We had

246
00:12:27,960 --> 00:12:32,399
never really recorded saxophone before, so we didn't really know

247
00:12:32,440 --> 00:12:34,960
what we were doing in our in our area. But

248
00:12:36,080 --> 00:12:41,399
and so finally song's done. That's it. But then my niece,

249
00:12:41,720 --> 00:12:46,279
Josie Rutsteam. Josie she's a she's a professional actress. She

250
00:12:46,759 --> 00:12:49,200
is sixteen years old. She's getting leads and all the

251
00:12:49,240 --> 00:12:51,919
plays around town. She's performed at the Palace Theater right

252
00:12:51,960 --> 00:12:56,960
down the road. She played me something on her phone

253
00:12:57,000 --> 00:12:59,240
of her hitting these high notes because her voice is

254
00:12:59,279 --> 00:13:01,360
like off the chart. So I'm like, all right, well,

255
00:13:01,399 --> 00:13:03,960
I guess this song isn't done yet. And she came

256
00:13:04,000 --> 00:13:07,879
down and recorded the track, and it is just the

257
00:13:08,320 --> 00:13:11,759
way the way it came out brings tears to my eyes, because,

258
00:13:11,799 --> 00:13:15,639
like I, I sent it off to master, to my

259
00:13:15,799 --> 00:13:19,080
mastering engineer, Chris Cormier, and and he sent it back

260
00:13:19,120 --> 00:13:20,919
to me and it was like hearing my song for

261
00:13:20,960 --> 00:13:24,000
the first time, and it was just it still brings

262
00:13:24,000 --> 00:13:27,200
tears to my eyes. I love that song, not just

263
00:13:27,240 --> 00:13:29,600
because I wrote it, but because of what everybody else did.

264
00:13:29,720 --> 00:13:33,480
Speaker 3: Oh yeah, I mean the layering and the production of

265
00:13:33,519 --> 00:13:37,159
that tune. It did start very simple, as Jesse described,

266
00:13:37,200 --> 00:13:40,639
but it didn't. It was never at any point overproduced.

267
00:13:40,679 --> 00:13:42,519
It was just kind of like it was a very

268
00:13:42,600 --> 00:13:46,679
natural progression of him kind of hearing like, oh, that's

269
00:13:46,720 --> 00:13:48,440
a very nice addition in an element.

270
00:13:48,840 --> 00:13:49,320
Speaker 2: What else?

271
00:13:49,799 --> 00:13:52,679
Speaker 4: But but is there more? Is there more?

272
00:13:52,799 --> 00:13:55,720
Speaker 2: And will it? Will it not? Promise it's done?

273
00:13:55,600 --> 00:13:56,120
Speaker 1: I promise?

274
00:13:57,360 --> 00:13:58,600
Speaker 4: Will it not sound overdone?

275
00:13:58,639 --> 00:14:02,000
Speaker 3: And it's not a tune that demands orchestral arrangements or

276
00:14:02,000 --> 00:14:06,519
anything crazy like that. But those auxiliary elements, you know,

277
00:14:06,559 --> 00:14:10,360
the saxophone, the woodwinds and and the the guitar that

278
00:14:10,519 --> 00:14:13,240
that was layered on it just it really does make

279
00:14:13,320 --> 00:14:15,919
that song. Yeah, yeah, and you know, I mean I

280
00:14:17,080 --> 00:14:19,039
I don't want to toot his horn too much, you know,

281
00:14:19,639 --> 00:14:21,000
can my head my head?

282
00:14:21,240 --> 00:14:22,200
Speaker 2: Possibly right.

283
00:14:23,480 --> 00:14:28,000
Speaker 3: Jesse is an excellent songwriter, and when he is nudged to,

284
00:14:28,320 --> 00:14:32,519
you know, to do things and and and consider additional elements,

285
00:14:33,159 --> 00:14:34,399
he makes a lot of great choices.

286
00:14:34,799 --> 00:14:36,600
Speaker 1: Well, very good, Well I think we should play it.

287
00:14:37,519 --> 00:14:38,759
Has this been on the radio yet?

288
00:14:38,919 --> 00:14:40,600
Speaker 2: This has not been on the radio yet.

289
00:14:40,639 --> 00:14:42,080
Speaker 1: This is not well you know what that means.

290
00:14:42,200 --> 00:14:43,039
Speaker 2: I know what that means.

291
00:14:44,919 --> 00:14:47,039
Speaker 1: All right, here it is. This is the world radio

292
00:14:47,120 --> 00:14:51,039
premiere of On Your Toes from Jesse Rutstein. You are

293
00:14:51,080 --> 00:14:52,639
listening to UM and H.

294
00:14:54,720 --> 00:14:55,720
Speaker 2: World premiere.

295
00:15:14,639 --> 00:15:20,120
Speaker 6: Bessa can't be real, but there's a lot upon They

296
00:15:20,240 --> 00:15:33,279
look at me. They all to be odd. She could

297
00:15:33,440 --> 00:15:36,200
will walking touching the tree.

298
00:15:37,879 --> 00:15:38,919
Speaker 7: And we touched you.

299
00:15:43,559 --> 00:15:45,960
Speaker 5: That soli dancing If.

300
00:15:48,440 --> 00:15:54,000
Speaker 7: I knew, they now said, it's side to watching the world.

301
00:15:55,759 --> 00:16:00,639
You first dance with me. I had to dance, can't

302
00:16:00,759 --> 00:16:10,399
you said? Love?

303
00:16:11,000 --> 00:16:11,039
Speaker 8: Mo.

304
00:16:27,159 --> 00:16:29,840
Speaker 7: Now, I can't believe Je's reading.

305
00:16:31,200 --> 00:16:33,600
Speaker 2: Looking man, I can never be.

306
00:16:39,600 --> 00:16:42,720
Speaker 5: I see a woman, not a girl and a can.

307
00:16:42,799 --> 00:16:45,000
Speaker 7: Man were a time silence.

308
00:16:45,720 --> 00:16:52,279
Speaker 9: The day came into my mother. I've been so proud

309
00:16:56,240 --> 00:17:03,559
that Sollie dancing on your tour. I'm a man to

310
00:17:03,759 --> 00:17:09,559
say its to watch a gol wouldn't you first dance?

311
00:17:09,759 --> 00:17:31,000
Speaker 7: Let me have to old James. Can't you go? She said? Yeah? Hello?

312
00:17:39,640 --> 00:17:46,160
Who man? Saw you dancing all your time? One thing?

313
00:17:46,400 --> 00:17:47,920
Now said it?

314
00:17:48,279 --> 00:17:56,079
Speaker 10: So who I'm sorry dancing?

315
00:17:56,759 --> 00:18:21,680
Speaker 7: I get so so lots of lots lots of.

316
00:18:42,559 --> 00:18:45,680
Speaker 1: Oh that came out really really well on your toes.

317
00:18:45,720 --> 00:18:49,319
Jesse Rudstein here with us live in studio, and Caleb

318
00:18:49,400 --> 00:18:53,400
Diler here, Caleb Dier. It's like, I think I do

319
00:18:53,519 --> 00:18:55,880
that sometimes I create amalgams of words in my brain

320
00:18:55,920 --> 00:18:57,640
if I'm talking too fast. So what did what did

321
00:18:57,680 --> 00:19:02,119
I just say? Dialer? Yeah, Caleb and Dyer Dialer.

322
00:19:03,920 --> 00:19:04,279
Speaker 2: I do that.

323
00:19:04,480 --> 00:19:08,519
Speaker 1: I do that a lot. So Caleb Dyer here with

324
00:19:08,680 --> 00:19:11,759
us in studio as well. And yeah, that that did

325
00:19:11,839 --> 00:19:15,960
come out. That came out fantastic, Thank you, absolutely absolutely,

326
00:19:16,200 --> 00:19:18,799
And the EP is out on all those streaming platforms.

327
00:19:18,359 --> 00:19:21,319
Speaker 2: Correct anywhere you can stream. I didn't even know Pandora

328
00:19:21,480 --> 00:19:24,039
was still a thing until the other day. I was

329
00:19:24,079 --> 00:19:26,240
talking to somebody who's like, no, I still do Pandora.

330
00:19:26,240 --> 00:19:28,200
I'm like, pull it up, see I see if I'm

331
00:19:28,240 --> 00:19:31,319
on there, and sure enough, oh you go? Yeah, so

332
00:19:31,440 --> 00:19:34,680
yeah you could. You can stream it anywhere Spotify, Apple

333
00:19:34,799 --> 00:19:38,319
Music YouTube. YouTube is where I'm doing the best right now.

334
00:19:39,119 --> 00:19:40,240
Speaker 1: Yeah, Spotify.

335
00:19:40,599 --> 00:19:42,599
Speaker 2: I don't know. I feel like an old man when

336
00:19:42,640 --> 00:19:45,720
I opened Spotify. I'm not crazy about it. I just

337
00:19:46,279 --> 00:19:50,000
I didn't get it at first. But uh, my my daughter,

338
00:19:50,359 --> 00:19:52,880
who that song was about, had to commote, like because

339
00:19:52,920 --> 00:19:56,279
social media is such a huge part of what I'm doing,

340
00:19:56,480 --> 00:19:59,799
but I didn't know anything about TikTok or Instagram. And yeah,

341
00:20:00,119 --> 00:20:03,200
my daughter had to come over and she's she's credited

342
00:20:03,279 --> 00:20:04,599
for marketing on the release.

343
00:20:06,000 --> 00:20:06,279
Speaker 8: She is.

344
00:20:06,440 --> 00:20:08,640
Speaker 2: Yeah, she came over. She came over and she showed

345
00:20:08,680 --> 00:20:11,240
me how to how to TikTok and how to Instagram

346
00:20:11,480 --> 00:20:14,799
and yeah, and uh, you know, cause I just scroll

347
00:20:14,880 --> 00:20:17,440
through Facebook. That was my extent of social media. But

348
00:20:17,519 --> 00:20:20,920
it is such a big part of this process and

349
00:20:21,319 --> 00:20:23,839
I didn't realize that when I when I started this

350
00:20:23,960 --> 00:20:26,640
whole thing. But I'm getting I'm getting there. I went

351
00:20:26,720 --> 00:20:30,319
from having no TikTok at all to twenty six hundred followers,

352
00:20:30,720 --> 00:20:32,599
which I know isn't a ton in the world of

353
00:20:32,880 --> 00:20:37,519
being an influencer, but it's it's, you know, I'm getting

354
00:20:37,559 --> 00:20:40,400
some some solid views off of that. People like the

355
00:20:40,640 --> 00:20:42,759
videos of my dog more than the videos of me singing.

356
00:20:42,799 --> 00:20:44,839
Oh really, so I just started I just started making

357
00:20:44,880 --> 00:20:46,200
videos of me singing to my dog.

358
00:20:46,359 --> 00:20:49,160
Speaker 1: Here you go smart, that's smart. Yeah.

359
00:20:49,240 --> 00:20:49,400
Speaker 2: Yeah.

360
00:20:50,200 --> 00:20:51,839
Speaker 1: In a couple of minutes, we're gonna play another track,

361
00:20:52,240 --> 00:20:52,920
Getting Nowhere.

362
00:20:53,319 --> 00:20:55,160
Speaker 2: Yes, yes, getting nowhere.

363
00:20:55,440 --> 00:20:57,440
Speaker 1: We should talk about that one. That's that's and that's

364
00:20:57,559 --> 00:20:58,799
that's a very different vibe than.

365
00:20:58,960 --> 00:21:03,000
Speaker 2: Oh, totally different, totally different. I Uh, this is the

366
00:21:03,039 --> 00:21:06,119
one I'm the most nervous about. I'm nervous about it

367
00:21:06,160 --> 00:21:10,440
because people could easily take take it the wrong way.

368
00:21:10,519 --> 00:21:13,319
It's it's so that the last song was very you know,

369
00:21:13,480 --> 00:21:17,759
beautiful saxophone about your kid, Oh what a nice guy.

370
00:21:18,319 --> 00:21:22,160
Getting nowhere is quite the opposite. It's super gritty, almost

371
00:21:22,319 --> 00:21:26,559
pop punk, heavily influenced by like the heavy sublime style

372
00:21:28,319 --> 00:21:36,480
late nineties vibe, and it's about it's about politics. So

373
00:21:37,599 --> 00:21:39,880
so I'm a middle of the road kind of guy.

374
00:21:40,119 --> 00:21:42,519
I I I believe in a lot of things that

375
00:21:42,680 --> 00:21:44,400
the left says and a lot of things that the

376
00:21:44,519 --> 00:21:46,880
right says. And I'm in the middle. So when I

377
00:21:46,960 --> 00:21:51,880
talk about politics, everybody hates me. Yeah, yeah, you know,

378
00:21:52,720 --> 00:21:54,960
I've seen some of your posts, you know, and so so.

379
00:21:55,160 --> 00:21:57,400
But that's what the song's about. The song is about

380
00:21:58,279 --> 00:22:02,200
people going back and forth on social media and saying,

381
00:22:02,599 --> 00:22:06,160
like writing off family members because of their political views.

382
00:22:06,279 --> 00:22:09,039
And if you did this, then you're no longer my friend.

383
00:22:09,160 --> 00:22:11,440
And if you did this, then you're you know. I

384
00:22:11,680 --> 00:22:13,559
got an uncle who doesn't talk to me because I

385
00:22:13,599 --> 00:22:17,240
don't agree with everything he says politically. Yeah, and I

386
00:22:17,319 --> 00:22:19,000
love the guy, you know what I mean. And and

387
00:22:19,480 --> 00:22:21,759
and then when you run into these people that you're

388
00:22:21,839 --> 00:22:24,759
like being a keyboard warrior with in real life and

389
00:22:24,880 --> 00:22:27,799
have a real conversation with them, you start to get

390
00:22:28,039 --> 00:22:30,960
to get somewhere right, you know. But as long as

391
00:22:31,039 --> 00:22:34,039
you're yelling at each other on your phone, yeah, and

392
00:22:34,240 --> 00:22:37,400
and this media driven division, which I can't get into

393
00:22:37,519 --> 00:22:39,680
without sharing my political views, which I don't want to do.

394
00:22:41,440 --> 00:22:43,920
But as long as we're going back and forth with

395
00:22:44,039 --> 00:22:46,319
each other and you're stupid. No, you're stupid. Then we're

396
00:22:46,319 --> 00:22:49,480
gonna get nowhere. And that's what the song's about, because,

397
00:22:49,599 --> 00:22:52,519
like my my biggest issue with the political climate right

398
00:22:52,599 --> 00:22:57,599
now is that people are divided for no reason. We're

399
00:22:57,920 --> 00:23:02,640
divided based on on Facebook memes and half the people

400
00:23:02,720 --> 00:23:05,079
that are talking about these things don't even really look

401
00:23:05,160 --> 00:23:09,039
into the issue. They just get their news from from memes.

402
00:23:09,279 --> 00:23:12,160
And and I'm not trying to insult anybody. It's more

403
00:23:12,200 --> 00:23:16,440
along the lines of if we keep arguing amongst ourselves

404
00:23:16,480 --> 00:23:19,119
about nothing, we're gonna get nowhere. And that's what the

405
00:23:19,200 --> 00:23:23,440
song's about. And it's very gritty, it's not polished, which

406
00:23:23,559 --> 00:23:25,920
drove him nuts nuts.

407
00:23:26,319 --> 00:23:30,519
Speaker 3: It didn't drive me nuts. Well, I under I understand that,

408
00:23:30,799 --> 00:23:33,519
you know, there are different production styles, but it was

409
00:23:34,599 --> 00:23:37,000
it was at times I was listening to it and

410
00:23:37,079 --> 00:23:40,160
I'm thinking, like, I understand the intent of this song

411
00:23:40,319 --> 00:23:43,160
is to get a really punk vibe, but there were

412
00:23:43,319 --> 00:23:49,000
there were some things like balancing right wise, the essentially

413
00:23:49,200 --> 00:23:52,839
the there were certain frequencies in the mid range where

414
00:23:52,960 --> 00:23:56,960
it's like conflictory right, it's like really really saturated, and

415
00:23:57,279 --> 00:23:59,759
that is part of the vibe. But also trying to

416
00:23:59,759 --> 00:24:02,920
get the separation of the instruments so you hear everything,

417
00:24:03,799 --> 00:24:06,759
but you know, also still have the vibe of everything

418
00:24:06,839 --> 00:24:09,079
being kind of like really loud in face.

419
00:24:09,000 --> 00:24:11,000
Speaker 4: Which, yeah, it's hard to pull off.

420
00:24:11,039 --> 00:24:12,599
Speaker 2: I think we I think we did all right.

421
00:24:13,880 --> 00:24:15,880
Speaker 4: You know, I think I think we did all right.

422
00:24:16,440 --> 00:24:18,440
Speaker 3: You know you of course we'll hear it in a

423
00:24:18,519 --> 00:24:21,319
couple of minutes, but you know, it is really loud

424
00:24:21,400 --> 00:24:22,880
and it is really in your face.

425
00:24:24,119 --> 00:24:26,480
Speaker 2: The idea that I was trying to get at with

426
00:24:26,680 --> 00:24:30,400
the whole vibe because the music needs to go along

427
00:24:30,440 --> 00:24:32,480
with the lyrics. It's not just it's not just the

428
00:24:32,599 --> 00:24:36,519
background so I can get my message out. I wanted

429
00:24:36,559 --> 00:24:40,920
it to sound garage bandish. I wanted it to sound

430
00:24:41,920 --> 00:24:44,799
like you're going to the bar and seeing the band

431
00:24:45,160 --> 00:24:47,680
and the drums aren't miked so that the symbols are

432
00:24:47,799 --> 00:24:50,799
just like cutting through the whole mix, and it's like,

433
00:24:50,880 --> 00:24:53,119
you know, like when when your buddy who's in a band,

434
00:24:53,400 --> 00:24:55,640
it takes a video and says, hey, look at my band,

435
00:24:56,000 --> 00:24:58,799
how do we sound? And you're all you hear is right?

436
00:24:59,400 --> 00:25:01,559
Speaker 3: It's his most of that as we could get while

437
00:25:01,680 --> 00:25:04,240
still being a professional release audio.

438
00:25:05,160 --> 00:25:09,200
Speaker 1: Okay, okay, yeah, that makes sense. Yeah, yeah, yeah, I

439
00:25:09,440 --> 00:25:11,480
I I kind of took what what you were saying.

440
00:25:11,519 --> 00:25:13,200
That's what I took from the lyrics when I listened

441
00:25:13,200 --> 00:25:16,000
to it. You know, so I I understood and I

442
00:25:16,160 --> 00:25:18,880
and I understand too about you know, like, uh, like

443
00:25:18,960 --> 00:25:20,440
I have a family member who sends me a lot

444
00:25:20,440 --> 00:25:22,079
of angry text messages.

445
00:25:21,680 --> 00:25:26,319
Speaker 2: And yeah, you know, it's so it's silly, it's so silly.

446
00:25:26,519 --> 00:25:27,599
Speaker 1: I've never seen it like this.

447
00:25:27,839 --> 00:25:28,039
Speaker 11: Yeah.

448
00:25:28,440 --> 00:25:30,839
Speaker 1: I don't even argue about politics on social media.

449
00:25:30,960 --> 00:25:33,640
Speaker 2: I post in ghost Oh I did, I know you do,

450
00:25:33,720 --> 00:25:36,119
and I appreciate, but this, this's there's a couple people

451
00:25:36,240 --> 00:25:40,200
that are always commenting and always disagreeing. But so so

452
00:25:40,440 --> 00:25:42,400
a full disclosure. I was that guy.

453
00:25:42,640 --> 00:25:42,880
Speaker 4: I was.

454
00:25:43,000 --> 00:25:46,920
Speaker 2: I was like really upset during COVID. Uh not like

455
00:25:47,160 --> 00:25:48,720
the first year we did we had to do to

456
00:25:48,799 --> 00:25:51,559
be safe, but then you know we I was. I

457
00:25:51,720 --> 00:25:54,599
was working in a bar and all the adults would

458
00:25:54,599 --> 00:25:56,720
be out, huge crowds of people, no masks, but they

459
00:25:56,759 --> 00:25:59,200
made my kids still wear a masks mask for a year.

460
00:25:59,319 --> 00:25:59,759
Speaker 8: So I was.

461
00:26:00,119 --> 00:26:03,279
Speaker 2: I wrote a mask, mask, mask, and and I realized

462
00:26:03,319 --> 00:26:05,359
what an idiot I look like. I look like an

463
00:26:05,400 --> 00:26:09,319
idiot arguing with somebody about something that that really didn't matter.

464
00:26:09,759 --> 00:26:12,000
And and I, you know, I I hope I didn't

465
00:26:12,160 --> 00:26:14,359
lose any friends, but there you know, there are people.

466
00:26:14,200 --> 00:26:15,920
Speaker 1: That you probably did though. I mean that's the thing

467
00:26:15,960 --> 00:26:16,440
that sucks.

468
00:26:16,599 --> 00:26:18,279
Speaker 2: Well, and they weren't a friend to begin with. But

469
00:26:19,079 --> 00:26:21,880
but you know what that if if I lost, I'm

470
00:26:21,920 --> 00:26:24,079
losing people and we're getting nowhere, you know. So that's

471
00:26:24,079 --> 00:26:25,279
what the song's about, you know.

472
00:26:25,839 --> 00:26:27,680
Speaker 1: So well, I think we should give this a spend.

473
00:26:27,720 --> 00:26:28,920
Speaker 2: I like it a lot awesome.

474
00:26:29,039 --> 00:26:31,000
Speaker 1: Now this is which one of one of the songs

475
00:26:31,039 --> 00:26:33,160
we're playing today has been played on uh in Nasha?

476
00:26:33,359 --> 00:26:33,839
Is that this one?

477
00:26:34,279 --> 00:26:35,440
Speaker 2: No that's lost in it all?

478
00:26:35,519 --> 00:26:36,039
Speaker 1: Lost in it all?

479
00:26:36,079 --> 00:26:36,920
Speaker 2: Well fai then.

480
00:26:37,400 --> 00:26:41,359
Speaker 1: Okay, so this one's another World radio premiere is yes, sir, Oh,

481
00:26:41,440 --> 00:26:42,279
well you know what that means.

482
00:26:42,480 --> 00:26:48,559
Speaker 2: I know what that means listening to umh World premiere

483
00:27:18,960 --> 00:27:20,279
counting like me and.

484
00:27:20,480 --> 00:27:23,920
Speaker 11: If you don't, you got caught like men of Prisms

485
00:27:24,799 --> 00:27:26,240
sleep see you don't.

486
00:27:26,319 --> 00:27:27,480
Speaker 2: We got to me.

487
00:27:29,839 --> 00:27:32,960
Speaker 5: And I'm just stood another classes clown out.

488
00:27:33,079 --> 00:27:37,680
Speaker 11: Then on me the Wizard, it smells surprising, I'm classics.

489
00:27:37,799 --> 00:27:44,000
Speaker 7: Land on me it's no fucat and walk can wake

490
00:27:44,200 --> 00:27:48,799
ad and the well lay the las virtues in b

491
00:27:49,160 --> 00:27:55,839
the city, he said, not walk so we're aad.

492
00:27:56,079 --> 00:28:00,640
Speaker 11: And no, well know we got for you, Betty, sit

493
00:28:15,359 --> 00:28:18,880
to talk to you about my concern for Russ sur Bible.

494
00:28:19,640 --> 00:28:25,720
The climate is born, Justice City, the Lizard of the

495
00:28:25,960 --> 00:28:32,160
waiting to this side the arival. It sounds a stressing,

496
00:28:32,400 --> 00:28:34,440
not a mysefer.

497
00:28:36,880 --> 00:28:37,319
Speaker 7: Campan.

498
00:28:37,599 --> 00:28:42,880
Speaker 5: So my campaign game, your mind start.

499
00:28:42,839 --> 00:28:51,240
Speaker 11: Up, fling, I'll be gone and came back to slave.

500
00:28:53,079 --> 00:28:58,240
Speaker 7: Can jump you can you believe God?

501
00:29:00,279 --> 00:29:00,480
Speaker 11: Wait?

502
00:29:00,640 --> 00:29:08,480
Speaker 7: God even better than he's got how card and Walm

503
00:29:08,960 --> 00:29:11,799
can wake and nowhere.

504
00:29:11,359 --> 00:29:15,240
Speaker 12: Else it's laying alas, but is it rock the city?

505
00:29:16,880 --> 00:29:23,519
It's not hour not long so Wick and now no

506
00:29:23,759 --> 00:29:27,160
we got on you that decency.

507
00:29:33,880 --> 00:29:59,519
Speaker 7: And Noel can now can nowhere?

508
00:30:03,000 --> 00:30:06,920
Speaker 1: Whoops, there we go, all right, Getty nowhere Caleb, I

509
00:30:06,960 --> 00:30:10,640
mean Jesse Rutstein. But Caleb was talking a lot about

510
00:30:10,680 --> 00:30:10,960
the song.

511
00:30:12,519 --> 00:30:15,200
Speaker 2: I mean he played, he played guitar, played some guitar

512
00:30:15,279 --> 00:30:16,799
on it, yeah, which is unusual.

513
00:30:16,880 --> 00:30:19,759
Speaker 3: I'm not really a guitar player very much, but really yeah,

514
00:30:19,759 --> 00:30:21,319
I mean, you know, it's interesting on a couple of

515
00:30:21,359 --> 00:30:25,039
these tunes on even though the one that was played

516
00:30:25,039 --> 00:30:25,960
before getting.

517
00:30:25,680 --> 00:30:29,440
Speaker 4: Nowhere the on your toes. So the main guitar lick

518
00:30:29,640 --> 00:30:34,039
that's in that was actually was a creation of mine, right, Oh.

519
00:30:33,960 --> 00:30:37,440
Speaker 2: Okay, Yeah, Caleb brought the lick for the tune on

520
00:30:37,559 --> 00:30:40,920
the verses and I not not nixt part like we

521
00:30:41,119 --> 00:30:44,079
that we had Nick play that that part obviously with

522
00:30:44,359 --> 00:30:47,160
with my track, but yeah, a lot of the collaboration

523
00:30:47,880 --> 00:30:51,000
and production, like I couldn't have done it without Caleb Dier,

524
00:30:51,160 --> 00:30:55,039
Like I just I couldn't have done it without him,

525
00:30:55,119 --> 00:30:58,160
like like even talking about opening up the space and

526
00:30:58,440 --> 00:31:01,480
the actual mixing. Because people hear a song and they're like, wow,

527
00:31:02,160 --> 00:31:04,799
you play guitar. That's cool. They don't realize I did

528
00:31:04,880 --> 00:31:08,599
that guitar track twenty seven and they don't realize that

529
00:31:08,680 --> 00:31:12,799
I spent hours just listening to one snippet of vocal

530
00:31:13,039 --> 00:31:15,839
to just get the level right. And I don't want

531
00:31:15,839 --> 00:31:17,519
them to care about that. I just want them to

532
00:31:17,559 --> 00:31:20,119
hear the song. And I talked to somebody yesterday who

533
00:31:20,200 --> 00:31:22,359
was like, hey, I listen to your stuff. I didn't

534
00:31:22,359 --> 00:31:24,680
really like sit down though, so I'm sorry. She's like,

535
00:31:24,759 --> 00:31:26,759
it was just on in the background, and I was like, no,

536
00:31:27,039 --> 00:31:30,200
that's great, that's great. That's what music is it. It

537
00:31:31,119 --> 00:31:33,720
can be super important to somebody like me, but it

538
00:31:33,759 --> 00:31:36,920
could just add a little joy to somebody's life that

539
00:31:37,039 --> 00:31:39,200
doesn't play you know what I mean, Like it's the

540
00:31:39,359 --> 00:31:40,359
universal language.

541
00:31:40,480 --> 00:31:44,119
Speaker 1: Yeah, absolutely, absolutely, No, that's great, that's great. In a

542
00:31:44,200 --> 00:31:46,319
couple of minutes, we'll also play out Lost in It All,

543
00:31:46,400 --> 00:31:48,599
the track that you did with Faith and and that's

544
00:31:48,640 --> 00:31:52,319
such a great song too. I'm curious what's the live

545
00:31:52,400 --> 00:31:54,000
situation like for you these days? Are you playing a

546
00:31:54,000 --> 00:31:55,119
lot of shows or have you been so.

547
00:31:55,720 --> 00:31:59,160
Speaker 2: More on the EP or I've been the laser focused

548
00:31:59,319 --> 00:32:02,039
on the studio work. Yeah, it's kind of funny. I

549
00:32:02,680 --> 00:32:05,119
we were joking around because I'm not playing lot. I

550
00:32:05,200 --> 00:32:08,400
am playing tomorrow at Terminus in the pop up event.

551
00:32:09,359 --> 00:32:11,720
Hopefully the weather holds up so we can actually be

552
00:32:11,880 --> 00:32:14,960
outside the way it was planned, but if not, we're

553
00:32:15,039 --> 00:32:18,799
going to be playing indoors. A lot of great artists,

554
00:32:18,880 --> 00:32:21,680
a lot of great musicians, you know, just Terminus doing

555
00:32:21,759 --> 00:32:25,119
what Terminus does. You know, upplug them. I'll talk about

556
00:32:25,160 --> 00:32:26,880
them as much as I'm talking about Nick Burns.

557
00:32:28,799 --> 00:32:31,720
Speaker 1: But that's where Jenny and I met you, by the way, Yes, yes,

558
00:32:32,160 --> 00:32:34,039
at the earlier this year at the open house.

559
00:32:34,599 --> 00:32:39,160
Speaker 2: Yeah, it was with Quincy Yes, yeah, well Quincy.

560
00:32:38,960 --> 00:32:41,079
Speaker 1: Raymond or Quincy Lord Lord. Yeah, I never know which

561
00:32:41,119 --> 00:32:41,599
to call him.

562
00:32:43,119 --> 00:32:47,519
Speaker 2: But so as far as the live situation, I am

563
00:32:48,319 --> 00:32:52,319
booking for twenty twenty six. The full length is coming

564
00:32:52,359 --> 00:32:55,880
out on December seventeenth. It's a song called Superhero Toys. Ye,

565
00:32:56,440 --> 00:32:58,920
all of my the dates that I released stuff are

566
00:32:58,960 --> 00:33:02,720
strategically placed. The song Superhero Toys is an ode to

567
00:33:03,160 --> 00:33:06,400
my son and being the dad of a boy, which is,

568
00:33:07,400 --> 00:33:10,079
you know, very tough at times, like like, am I

569
00:33:10,160 --> 00:33:11,640
doing the right thing? Am I pointing him in the

570
00:33:11,720 --> 00:33:15,160
right direction? Am I giving him what he needs on

571
00:33:15,319 --> 00:33:18,359
my end to be able to make his own decisions?

572
00:33:18,480 --> 00:33:20,720
Speaker 1: And you know that's a great song too. You play that?

573
00:33:20,920 --> 00:33:21,119
Speaker 2: Yeah?

574
00:33:21,319 --> 00:33:22,079
Speaker 1: Use last time You're here?

575
00:33:22,119 --> 00:33:25,759
Speaker 2: He did just yes, yeah, he did. Just you know,

576
00:33:25,880 --> 00:33:29,720
he's in his first year of being a United States Marine.

577
00:33:30,039 --> 00:33:30,279
Speaker 1: Wow.

578
00:33:30,640 --> 00:33:33,920
Speaker 2: So my contribution I feel like I did all right,

579
00:33:34,279 --> 00:33:35,799
you know, but it's very scary.

580
00:33:36,279 --> 00:33:36,480
Speaker 1: Yeah.

581
00:33:36,920 --> 00:33:39,720
Speaker 2: So December seventeenth is the release and that is the

582
00:33:39,799 --> 00:33:42,200
title track of the release, and it also happens to

583
00:33:42,279 --> 00:33:45,440
be his birthday. Oh nice, So that's why it's And

584
00:33:45,559 --> 00:33:47,839
then in twenty twenty six is after I have the

585
00:33:47,920 --> 00:33:51,279
full length release, after I've been on the radio. I'm

586
00:33:51,359 --> 00:33:53,640
in people's ears, I got the social media going, there's

587
00:33:53,640 --> 00:33:56,240
going to be plenty of merchandise. That's when I'm gonna

588
00:33:56,240 --> 00:33:58,960
get out and start gigging. So it's it's it's all

589
00:33:59,039 --> 00:34:03,559
a plan. And uh, the the EP's been out for

590
00:34:03,599 --> 00:34:07,359
a week and so far I'm gaining some serious momentum.

591
00:34:07,480 --> 00:34:12,880
So I am beyond pumped. I'm beyond thankful to everybody

592
00:34:12,920 --> 00:34:15,679
who's taken the time to listen, everybody who's taken the

593
00:34:15,760 --> 00:34:19,079
time to be involved, including yourself, you know, like like

594
00:34:19,280 --> 00:34:22,760
hitting me up. And so yeah, that's that's that's the

595
00:34:22,800 --> 00:34:25,639
plan for the live stuff. Okay, okay, cool, cool, So

596
00:34:25,760 --> 00:34:28,000
twenty twenty six, watch out, You're going to be seeing

597
00:34:28,079 --> 00:34:28,440
my face.

598
00:34:28,599 --> 00:34:30,440
Speaker 4: It helps me out a lot too, because my twenty

599
00:34:30,480 --> 00:34:32,119
twenty five is kind of he's.

600
00:34:32,039 --> 00:34:33,280
Speaker 2: Book solid and he's in my bad.

601
00:34:33,280 --> 00:34:35,360
Speaker 4: I'm not solidly hooked, but I do have a lot

602
00:34:35,400 --> 00:34:35,679
going on.

603
00:34:35,960 --> 00:34:38,519
Speaker 1: Yeah, yeah, no doubt. And you've got the we should

604
00:34:38,599 --> 00:34:40,039
we talked about it a little bit, but we should

605
00:34:40,039 --> 00:34:43,679
circle back to it, the label because you know, and

606
00:34:43,800 --> 00:34:45,039
a lot of people, you know, a lot of people

607
00:34:45,079 --> 00:34:46,320
in the scene listen to the show too, So we

608
00:34:46,360 --> 00:34:48,039
want to make sure everybody knows, you know, if people

609
00:34:48,039 --> 00:34:49,679
want to get involved, if they want to sell your music,

610
00:34:49,719 --> 00:34:50,320
if they want.

611
00:34:50,159 --> 00:34:52,880
Speaker 2: To We don't have the only thing that I'm worried

612
00:34:52,920 --> 00:34:54,760
about right now talk because I want to talk about

613
00:34:54,760 --> 00:34:56,400
I want to get in people's ear. But we don't

614
00:34:56,440 --> 00:34:59,000
have a website or any social media going right now.

615
00:34:59,159 --> 00:35:01,920
Speaker 3: Yeah, that's kind of that's almost deliberate in a way.

616
00:35:02,719 --> 00:35:05,039
Well one Facebook kind of put me in in nazi

617
00:35:05,119 --> 00:35:09,360
Nazi mode, so I can't can't create a new page.

618
00:35:09,400 --> 00:35:12,519
But but setting that aside, that it's kind of strategic

619
00:35:13,320 --> 00:35:16,400
because we kind of don't have the ability. It's a partnership,

620
00:35:16,440 --> 00:35:18,599
so it's just Jesse and I. We don't really have

621
00:35:18,719 --> 00:35:21,280
the ability to be taking on a lot of people,

622
00:35:21,360 --> 00:35:24,239
and we know that there's demand because of course all

623
00:35:24,320 --> 00:35:27,280
of our friends are like, you know, like when when

624
00:35:27,400 --> 00:35:28,679
can we when can we do this?

625
00:35:29,960 --> 00:35:30,400
Speaker 1: This done?

626
00:35:30,960 --> 00:35:32,639
Speaker 3: Because you know, there are a number of people who

627
00:35:32,639 --> 00:35:36,440
have heard the Jesse releases and you know they're they're

628
00:35:36,760 --> 00:35:40,039
they're very, very eager, you know, so we we.

629
00:35:40,159 --> 00:35:41,239
Speaker 4: Kind of want to be selective.

630
00:35:41,559 --> 00:35:45,559
Speaker 3: We've got one young, lovely lady Sarah Bird, who's in

631
00:35:45,599 --> 00:35:52,159
the band dogg Eate Dog. She has, yeah, exactly, and

632
00:35:52,280 --> 00:35:55,159
she's an excellent musician. And I saw her yesterday and

633
00:35:55,480 --> 00:35:57,719
she was rocking out with the Dogs out in Greenfield.

634
00:35:58,639 --> 00:36:01,000
I wish, I wish, Yeah, it would have been great

635
00:36:01,000 --> 00:36:03,599
to have you out there. But anyhow, we want to

636
00:36:03,639 --> 00:36:05,960
get Sarah Burd and she's got some excellent originals of

637
00:36:06,039 --> 00:36:09,159
hers that are kind of more on the light side.

638
00:36:09,280 --> 00:36:11,800
They're not so heavy rock and roll like Dog Eate

639
00:36:11,880 --> 00:36:15,519
Dog as a band is. And you know, we would

640
00:36:15,559 --> 00:36:18,519
love to get her in and get those tunes recorded,

641
00:36:19,000 --> 00:36:21,760
you know, in a format that is more true to who.

642
00:36:21,719 --> 00:36:24,920
Speaker 4: Sarah is as a kind of solo artist on her

643
00:36:24,920 --> 00:36:25,320
own right.

644
00:36:26,079 --> 00:36:28,239
Speaker 3: And you know, we've spoken with her about that and

645
00:36:28,440 --> 00:36:30,119
and hopefully we can get her in as one of

646
00:36:30,199 --> 00:36:33,159
the first few test cases. Of course, I'd like to

647
00:36:33,199 --> 00:36:35,400
get my own band, Crank and Wagon, which is kind

648
00:36:35,400 --> 00:36:37,119
of not my band. I kind of just am the

649
00:36:37,320 --> 00:36:41,840
organist for the band. And he's yes, correct, Paul Fry

650
00:36:42,000 --> 00:36:45,199
is the true true leader and mastermind of that band. Indeed,

651
00:36:45,280 --> 00:36:50,199
Paul Fry very very astute guitar player and good good

652
00:36:50,239 --> 00:36:53,400
friend of mine, but so you know, we we have

653
00:36:53,519 --> 00:36:55,280
a bunch of these test cases that we'd like to

654
00:36:55,400 --> 00:36:57,519
kind of try out because we've done it with Jesse,

655
00:36:57,639 --> 00:37:00,599
We've proven the concept, and now we need to take

656
00:37:00,679 --> 00:37:03,840
this sell it hard, you know, through to the end

657
00:37:03,840 --> 00:37:05,519
of the year, through the album release, which is I

658
00:37:05,599 --> 00:37:09,079
guess technically the first official Hatchet Ax and Saw release.

659
00:37:10,119 --> 00:37:10,480
Speaker 1: That will be.

660
00:37:10,719 --> 00:37:13,599
Speaker 2: That will be the first Hatchet Ax and Saw release.

661
00:37:13,719 --> 00:37:15,880
Speaker 3: Yes, that will be, Yeah, the first official one. And

662
00:37:16,239 --> 00:37:18,800
in the meantime we'll have other things kind of cooking

663
00:37:19,280 --> 00:37:20,679
to be released in the next year.

664
00:37:20,840 --> 00:37:23,000
Speaker 1: So excellent. Oh did we talk about where that? I

665
00:37:23,039 --> 00:37:24,679
know we talked about it off air before the show.

666
00:37:24,719 --> 00:37:26,519
Did we talk on air about where the name comes from?

667
00:37:26,800 --> 00:37:27,000
Speaker 4: Oh?

668
00:37:27,440 --> 00:37:32,960
Speaker 2: Oh yes, so this is a cool story. Yeah, I'm

669
00:37:32,960 --> 00:37:37,840
a musician. No, no, really, So I love Rush. I

670
00:37:38,119 --> 00:37:41,800
love Rush. If how could you not love Rush? Is

671
00:37:42,079 --> 00:37:44,639
is the thought that I hear when people say, but

672
00:37:44,960 --> 00:37:47,320
but I do have a unique voice, and I do

673
00:37:47,599 --> 00:37:50,559
enjoy groups like the Dave Matthews Band and and and

674
00:37:50,679 --> 00:37:53,320
so some people will say I don't like Rush because

675
00:37:53,320 --> 00:37:55,360
I can't stand his voice, and I'm like, how could

676
00:37:55,400 --> 00:37:59,039
you not stand his voice? He's perfect, you know, So

677
00:37:59,320 --> 00:38:04,280
I love Rush and Caleb loves Rush, and coincidentally we didn't.

678
00:38:04,400 --> 00:38:07,679
So so the the one person we forgot I haven't

679
00:38:07,679 --> 00:38:10,039
well not forgot I haven't mentioned yet is Dave Patterson,

680
00:38:10,119 --> 00:38:13,679
our executive producer who runs Tree Streets, Inc. Which is

681
00:38:13,960 --> 00:38:17,599
where facility that's that's the studio. So we're on the

682
00:38:17,679 --> 00:38:21,519
Tree Streets recording and we just happened to be talking

683
00:38:21,559 --> 00:38:28,719
about the record label and Rush came up, and coincidentally,

684
00:38:28,800 --> 00:38:32,079
our favorite Rush song is Trees, both of us, so

685
00:38:32,239 --> 00:38:34,440
I'm like, and then we were talking about naming the

686
00:38:34,800 --> 00:38:37,159
record company, I'm like, Trees is really your favorite because

687
00:38:37,159 --> 00:38:40,119
it's just the most beaut like getting nowhere, it's a

688
00:38:40,199 --> 00:38:47,679
very political song about people, about about fighting over something

689
00:38:47,719 --> 00:38:49,719
that you can't change, you know, and that's that's what

690
00:38:49,800 --> 00:38:52,320
the whole song is about. And the last lyrics of

691
00:38:52,400 --> 00:38:55,880
the tune are Hatchet Acts and Saw and I'm like,

692
00:38:55,920 --> 00:38:58,079
how about we just call it Hatchet Acts and Sauce.

693
00:38:58,199 --> 00:39:00,880
Speaker 3: Well more importantly, the full lyric is the trees are

694
00:39:00,920 --> 00:39:02,760
all kept equal by handy hate.

695
00:39:03,760 --> 00:39:03,960
Speaker 1: Yeah.

696
00:39:04,119 --> 00:39:07,559
Speaker 3: And now, one thing about the music business, which I

697
00:39:07,599 --> 00:39:09,760
don't think a lot of people understand is that there

698
00:39:09,840 --> 00:39:13,000
are sort of some gate keeping going on by some

699
00:39:13,320 --> 00:39:17,119
some shall we say, oaks, which you're you know, very

700
00:39:17,239 --> 00:39:21,280
large multimedia conglomerates that kind of don't let the Maples

701
00:39:21,320 --> 00:39:26,199
get sunlight. And whether or not it's by the design

702
00:39:26,280 --> 00:39:29,119
of the system or you know, no fault of their own,

703
00:39:29,559 --> 00:39:31,639
which I don't think it is in this particular case.

704
00:39:31,679 --> 00:39:34,440
I do think that they have deliberately lobbied and created

705
00:39:34,519 --> 00:39:39,119
this sort of system that protects themselves. Sure, but the

706
00:39:39,239 --> 00:39:42,000
local musicians are the Maples in that song, and they're

707
00:39:42,039 --> 00:39:45,519
not getting enough sunlight, and you know, hatchet actions and

708
00:39:45,599 --> 00:39:49,519
saw maybe you know, we're not trying to make everyone equal,

709
00:39:49,800 --> 00:39:51,760
but at the very least we'd like to get the

710
00:39:51,840 --> 00:39:52,719
Maples some sunlight.

711
00:39:53,280 --> 00:39:55,800
Speaker 2: We're trying to do the exact same thing that you

712
00:39:55,920 --> 00:39:58,760
guys do here. Yeah, and you know you put us on.

713
00:39:59,400 --> 00:40:02,119
You take the time and and and do your due

714
00:40:02,159 --> 00:40:05,480
diligence and put the show together. And it's a great show.

715
00:40:05,599 --> 00:40:07,559
Like I I watch you almost every Saturday.

716
00:40:08,360 --> 00:40:08,639
Speaker 1: Thank you.

717
00:40:09,039 --> 00:40:11,840
Speaker 2: Yeah, yeah, it's great. I I forget what's the guy's name,

718
00:40:11,920 --> 00:40:15,719
Eli something he was on a few weeks ago.

719
00:40:16,239 --> 00:40:19,079
Speaker 1: Uh, it becomes such a blur. He tours, he's a

720
00:40:19,679 --> 00:40:20,920
oh yeah, I'm sorry.

721
00:40:21,679 --> 00:40:24,599
Speaker 2: Eli Love, Yeah, Eli Love. I was watching the show

722
00:40:24,920 --> 00:40:27,679
and I had never heard of this guy before, and

723
00:40:27,760 --> 00:40:32,360
I just watched him play this tune and literally, I've

724
00:40:33,239 --> 00:40:35,840
working on this project. I haven't listened to anybody else

725
00:40:35,920 --> 00:40:39,239
but myself, like a year. I'm so sick of my

726
00:40:39,320 --> 00:40:42,760
voice that everybody's like, wow, I like your voice. I'm like, yeah, yeah,

727
00:40:42,760 --> 00:40:47,079
I'm me too, I guess. But I was watching your

728
00:40:47,119 --> 00:40:50,519
show and I saw I saw this wonderful, wonderful musician,

729
00:40:50,800 --> 00:40:54,280
and I went following him. Uh and he emailed me,

730
00:40:55,039 --> 00:40:56,880
you know, like after I started following him, you get

731
00:40:56,920 --> 00:40:59,719
the email, like because he's a pro. Like I'm literally

732
00:40:59,800 --> 00:41:01,960
my modeling some of the marketing stuff that I'm doing

733
00:41:02,079 --> 00:41:05,800
after what he does smartly and h long story short,

734
00:41:06,320 --> 00:41:09,920
I saw new music because of you, you know. And

735
00:41:10,079 --> 00:41:12,840
that's what we want to bring to the area. We

736
00:41:12,960 --> 00:41:15,400
want to get people like like Sarah Bird, and we

737
00:41:15,519 --> 00:41:17,960
want to get the Cosmic Blossoms, the Dog eight Dogs.

738
00:41:18,480 --> 00:41:22,039
I'm talking to another really wonderful musician in the area,

739
00:41:22,079 --> 00:41:24,760
his name is Justin Jordan, about getting him down in

740
00:41:24,840 --> 00:41:29,360
the studio and we're just we're just that's what we're

741
00:41:29,360 --> 00:41:29,880
trying to push.

742
00:41:29,960 --> 00:41:32,199
Speaker 3: Get it, Get him down there, get him recorded, get

743
00:41:32,239 --> 00:41:35,280
him selling it, because if we can sell it, if

744
00:41:35,280 --> 00:41:39,719
we can prove commercial viability, then we can actually make

745
00:41:39,920 --> 00:41:43,679
Nashua and Manchester Southern New Hampshire. Like you know, my

746
00:41:43,960 --> 00:41:46,559
my tagline for the last couple of years is I

747
00:41:46,599 --> 00:41:49,000
want to turn Nashua into a mini Nashville.

748
00:41:49,320 --> 00:41:50,320
Speaker 4: Yeah, I want.

749
00:41:52,039 --> 00:41:54,400
Speaker 2: We talked to anybody, anybody else in the country, they say,

750
00:41:54,440 --> 00:41:56,800
where are you from? You say Nashua. They're going to

751
00:41:56,840 --> 00:42:00,679
be like Nashville. Yeah, I just say Boston now yeah.

752
00:42:00,880 --> 00:42:03,119
Speaker 3: And I mean for the music that I love, I

753
00:42:03,360 --> 00:42:06,039
play a lot of blues and rock and stuff like that.

754
00:42:06,360 --> 00:42:09,119
I'm actually a shameless self plug the Blues Fest on

755
00:42:09,159 --> 00:42:11,719
August second here in Manchester. I'll be playing there with

756
00:42:11,840 --> 00:42:15,960
the Craig Thomas band or it's called Bluetopia Craig Thomas

757
00:42:16,000 --> 00:42:19,199
and Blue Topia. But that's the music that I really love,

758
00:42:19,280 --> 00:42:21,440
the music that I kind of grow up, grew up

759
00:42:21,519 --> 00:42:25,599
listening to and and caring about. And you know, the

760
00:42:26,280 --> 00:42:29,039
whole idea is, at least with Hatchet, Ax and Saw,

761
00:42:29,880 --> 00:42:34,480
is to you know, bring local musicians who are doing it,

762
00:42:34,599 --> 00:42:38,840
producing original music, you know, take that to the market,

763
00:42:39,159 --> 00:42:44,079
prove commercial viability and and turn this you know, area

764
00:42:44,320 --> 00:42:47,239
into a music hub much much in the same way.

765
00:42:47,800 --> 00:42:51,320
And I think it's long overdue because Boston. Boston's had,

766
00:42:51,599 --> 00:42:54,519
you know, a very strong local music scene, but there's

767
00:42:54,679 --> 00:42:58,559
there's like, you know, maybe a couple a dozen recording studios,

768
00:42:58,599 --> 00:43:01,440
and there's even fewer action will labels that you can

769
00:43:01,599 --> 00:43:04,119
that you can publish through. And I mean, you know,

770
00:43:04,239 --> 00:43:07,679
we we have great, like again, great studios around and

771
00:43:08,079 --> 00:43:10,880
it's not like the facility that we're at as any better,

772
00:43:11,000 --> 00:43:13,639
any worse. But I think the product that we actually

773
00:43:13,719 --> 00:43:16,280
offer is going to be the promotion, the actual trying

774
00:43:16,320 --> 00:43:19,760
to get it out to market, cooperating with local you know,

775
00:43:19,880 --> 00:43:24,360
record distributors. There's this fellow Dan up in Laconia who

776
00:43:24,480 --> 00:43:27,559
owns a little record shop up there. I would love

777
00:43:27,639 --> 00:43:30,880
to plug the name of it. It's oh my lord,

778
00:43:31,800 --> 00:43:34,719
I'm so sorry Dan forgetting the name of your business.

779
00:43:34,719 --> 00:43:35,920
Speaker 2: But it's a little little.

780
00:43:37,519 --> 00:43:38,159
Speaker 4: Right exactly.

781
00:43:38,559 --> 00:43:41,239
Speaker 3: But it's this little record shop right up in Laconia,

782
00:43:41,320 --> 00:43:42,960
right down the street from the theater there where they

783
00:43:43,000 --> 00:43:45,280
have a lot of live music acts. And I plan

784
00:43:45,400 --> 00:43:49,519
to partner with him get physical copies in stores around that,

785
00:43:49,760 --> 00:43:52,199
you know, like down and Lowell. There's there's a couple

786
00:43:52,199 --> 00:43:54,920
of little record shops as well, So getting the music

787
00:43:55,000 --> 00:43:57,960
out to the people selling it and and that that

788
00:43:58,159 --> 00:44:00,199
is the thing that a lot of local art just

789
00:44:00,280 --> 00:44:01,440
have the hardest time doing.

790
00:44:01,480 --> 00:44:04,119
Speaker 4: They'll play gig after gig after gig.

791
00:44:03,960 --> 00:44:06,760
Speaker 3: And they'll be grinding themselves into dust, but they don't

792
00:44:06,840 --> 00:44:09,119
have any sort of you know, means of passive income

793
00:44:09,320 --> 00:44:10,079
selling the music.

794
00:44:10,280 --> 00:44:12,480
Speaker 2: Right, That's the reason why I'm not not That's the

795
00:44:12,519 --> 00:44:14,880
reason why I'm hanging tight on the live shows. Uh,

796
00:44:15,360 --> 00:44:17,760
getting the product and then then you.

797
00:44:17,880 --> 00:44:19,480
Speaker 4: Use the live shows and just a product.

798
00:44:19,519 --> 00:44:21,519
Speaker 2: We're going to be pushing lost in it all until

799
00:44:22,119 --> 00:44:25,880
until the uh till then till the full length comes out.

800
00:44:25,920 --> 00:44:27,519
I mean I'm gonna be sharing the other songs too,

801
00:44:27,559 --> 00:44:30,119
of course we're playing them today, but yeah, that is

802
00:44:30,280 --> 00:44:33,599
the single and then but I'm well aware that I'm

803
00:44:33,639 --> 00:44:36,280
not gonna look at Spotify and see myself blow up

804
00:44:36,360 --> 00:44:38,800
until I start playing live. But I'm gonna be killing

805
00:44:38,880 --> 00:44:41,199
myself in the studio if I'm trying to juggle playing

806
00:44:41,280 --> 00:44:43,480
live and get this all together the right way.

807
00:44:44,480 --> 00:44:45,679
Speaker 4: Creative balancing acts.

808
00:44:45,920 --> 00:44:47,920
Speaker 1: Yeah, no, that makes sense. That makes a lot of sense.

809
00:44:48,440 --> 00:44:51,000
So in a moment, will yeah, We'll play lost in

810
00:44:51,119 --> 00:44:53,119
it All to close out the segment.

811
00:44:53,119 --> 00:44:59,840
Speaker 2: Faith in we got to talk about faith featuring. So this,

812
00:45:00,239 --> 00:45:03,960
this tune, this tune was how we started this, this started.

813
00:45:04,320 --> 00:45:07,639
We started recording this song four years ago. I was

814
00:45:07,719 --> 00:45:12,920
in a band with a wonderful local musician and sound therapist.

815
00:45:13,039 --> 00:45:17,119
Is that the right, Yeah. So her name is Jessica

816
00:45:17,280 --> 00:45:20,719
Songbird of the I KAA Jessica Olsen, and we were

817
00:45:20,760 --> 00:45:24,400
both members of the jess Olsen Band, and I did

818
00:45:24,599 --> 00:45:26,360
a lot of writing and I came up with this

819
00:45:27,320 --> 00:45:31,559
tune about how it all started with the group. I

820
00:45:32,440 --> 00:45:36,719
went out saw her playing with a guy named Seth

821
00:45:36,800 --> 00:45:38,519
who I had never met but I knew. We played

822
00:45:38,559 --> 00:45:42,559
in a group called Project Mess, and that's where the

823
00:45:42,639 --> 00:45:47,400
lyric guy played Mess. So the whole song is the

824
00:45:47,440 --> 00:45:50,320
whole song is me not even playing that. It's not

825
00:45:50,400 --> 00:45:52,679
about me playing. It's about me going to a show,

826
00:45:53,400 --> 00:45:56,679
seeing this wonderful band led by a really great female

827
00:45:56,800 --> 00:46:02,079
artist and get lost, getting lost in the moments, you know.

828
00:46:02,360 --> 00:46:06,519
And so we started a band. Things didn't work out.

829
00:46:06,599 --> 00:46:09,159
We didn't uh, we didn't necessarily see eye to eye

830
00:46:09,199 --> 00:46:11,440
in the direction of the music. Which is one of

831
00:46:11,480 --> 00:46:15,199
the reasons that I'm a solo artist. It's I've come

832
00:46:15,239 --> 00:46:17,559
to terms with the fact that that if I want

833
00:46:17,599 --> 00:46:19,960
to do the stuff I want to do, I have

834
00:46:20,119 --> 00:46:23,559
to have creative control. And I'm not saying anything bad

835
00:46:23,679 --> 00:46:27,199
about about Jessica. She's a wonderful, wonderful human being. We

836
00:46:27,480 --> 00:46:30,760
just didn't she wanted to She wanted to go in

837
00:46:30,800 --> 00:46:32,960
one direction. I didn't want to go, so so I'm like,

838
00:46:33,000 --> 00:46:34,679
all right, you know. And and that he was the

839
00:46:34,719 --> 00:46:37,320
one who convinced me to do the solo thing. He's like,

840
00:46:37,480 --> 00:46:40,480
you should we should do this as you you know,

841
00:46:41,239 --> 00:46:43,440
and and and it obviously it takes a village. I

842
00:46:43,519 --> 00:46:46,480
keep plugging all these wonderful, amazing artists that are on

843
00:46:46,639 --> 00:46:50,239
the tracks, but I put them on the tracks, and

844
00:46:50,400 --> 00:46:52,280
and when they came in, they were they looked at

845
00:46:52,320 --> 00:46:53,400
me and they're like, all right, what do you want

846
00:46:53,440 --> 00:46:55,679
me to With the exception of Nick Burns just coming

847
00:46:55,719 --> 00:46:58,199
in and killing it, they would look at me and

848
00:46:58,320 --> 00:46:59,400
be like, all right, what do you want me to do?

849
00:46:59,880 --> 00:47:02,599
And then I wanted them to put their mark on it.

850
00:47:02,679 --> 00:47:05,880
So the original tune was recorded with the jess Olsen band.

851
00:47:06,360 --> 00:47:12,000
I wrote it for a female to sing and wonderful

852
00:47:12,039 --> 00:47:14,639
bass player. His tracks are still there Alec, Philip Brown

853
00:47:14,880 --> 00:47:19,960
and Seth Sears on drums, and obviously Caleb on oregon

854
00:47:20,039 --> 00:47:20,519
and piano.

855
00:47:20,840 --> 00:47:23,400
Speaker 3: I think some guitar in there too, U No, I

856
00:47:23,480 --> 00:47:27,000
redid all the guitar, Yes, yes, yes, yes, yes, yes,

857
00:47:27,079 --> 00:47:28,159
there are some fun stuff.

858
00:47:28,480 --> 00:47:32,280
Speaker 2: So I'm listening to the tune and I'm one day

859
00:47:32,480 --> 00:47:34,320
and it was not supposed to be on the EP

860
00:47:34,599 --> 00:47:37,320
at all. This song was I did, but it's in

861
00:47:37,440 --> 00:47:39,760
the studio. It's like there's a list that drops down

862
00:47:39,800 --> 00:47:42,840
of songs. I'm like, I'm gonna listen to loss, listen

863
00:47:42,880 --> 00:47:46,039
to Jess's voice instead of mine. And this was at

864
00:47:46,199 --> 00:47:49,519
like midnight. I had been working all night and I

865
00:47:50,079 --> 00:47:53,679
was like, wait a minute, this songs awesome. I'm gonna

866
00:47:53,679 --> 00:47:53,960
sing it.

867
00:47:54,159 --> 00:47:54,360
Speaker 1: Yeah.

868
00:47:54,599 --> 00:47:57,960
Speaker 2: So, needless to say, I was there until about four

869
00:47:58,039 --> 00:48:01,320
in the morning re recording lead vocals for this tune.

870
00:48:02,039 --> 00:48:04,400
And I finish it and I think it's great, and

871
00:48:04,599 --> 00:48:06,880
I said it to Caleb and he's like, no, no, no.

872
00:48:07,280 --> 00:48:08,239
Speaker 4: I laughed at some things.

873
00:48:08,559 --> 00:48:10,760
Speaker 2: I said a couple of the lyrics because there is

874
00:48:10,960 --> 00:48:13,760
some comedy involved, like getting nowhere. There is a little

875
00:48:13,800 --> 00:48:16,199
bit of comedy involved in what I do. I really

876
00:48:16,360 --> 00:48:21,440
love SNL and like Mad Magazine. My father my biggest

877
00:48:21,480 --> 00:48:24,679
musical inspiration was in a group called Gross National Productions

878
00:48:24,760 --> 00:48:27,199
back in the seventies and they did comedy. Their lead

879
00:48:27,239 --> 00:48:30,000
singer ended up being a regular on Howard Stern back

880
00:48:30,039 --> 00:48:33,639
in the day, you know, just because all slapstick stuffy.

881
00:48:33,840 --> 00:48:34,039
Speaker 1: Yeah.

882
00:48:34,360 --> 00:48:37,440
Speaker 2: So, but some of the lyrics, Caleb was like, no, no,

883
00:48:38,719 --> 00:48:43,840
You're going too far with this. So so I'm listening

884
00:48:43,920 --> 00:48:45,960
to it and I'm like, how am I going to

885
00:48:46,000 --> 00:48:47,840
make this work? Because it still sounds like a song

886
00:48:47,920 --> 00:48:49,639
about a girl going out, you know, because it was

887
00:48:49,679 --> 00:48:53,360
originally written for Chess. And I did a show at

888
00:48:54,760 --> 00:48:58,480
I did a show on June twenty second, opening up

889
00:48:58,519 --> 00:49:00,920
for the Faith in Man and I knew of Faith.

890
00:49:00,960 --> 00:49:04,800
Everybody knows Faith, but I didn't, you know, we never

891
00:49:04,880 --> 00:49:08,360
really like met in person, so and I was really

892
00:49:08,400 --> 00:49:10,400
nervous because I had an issue. Caleb couldn't make it.

893
00:49:10,440 --> 00:49:13,159
We had a bass player issue, and so I'm like,

894
00:49:13,320 --> 00:49:15,519
I'm gonna be so unprofessional and I'm gonna show up

895
00:49:15,559 --> 00:49:17,800
without my bass player. And then I introduced myself to

896
00:49:17,840 --> 00:49:19,840
Faith and she looks at me. She goes, I'm sorry,

897
00:49:20,079 --> 00:49:23,800
I can't find my drummer anywhere, and I'm like, oh sweet,

898
00:49:23,920 --> 00:49:28,840
I'm not the only one, like awesome, I don't have

899
00:49:28,960 --> 00:49:32,000
my bass player. But that's cool. But yeah, So we

900
00:49:32,159 --> 00:49:34,960
ended up just setting up together because I was the

901
00:49:35,039 --> 00:49:37,280
opener and and we hit it off like like she

902
00:49:37,480 --> 00:49:40,480
is just so cool, like like just down to earth,

903
00:49:41,119 --> 00:49:43,800
chill person like like just one of those people that

904
00:49:43,880 --> 00:49:48,519
you like to be around and just as and then

905
00:49:48,559 --> 00:49:50,920
I was working on Lost and it just clicked. I'm

906
00:49:51,000 --> 00:49:53,159
like shot in the dark. I got her, I got

907
00:49:53,199 --> 00:49:54,960
her number. I'm gonna text her and see if she

908
00:49:55,039 --> 00:49:57,280
wants to come down, and she said she'd love to

909
00:49:57,360 --> 00:50:00,239
do it, and uh so she came down. She came

910
00:50:00,280 --> 00:50:03,519
down and we did two sessions. The first session, I

911
00:50:03,719 --> 00:50:08,559
was just basically replacing Jess's backup vocals because I wanted

912
00:50:08,599 --> 00:50:10,519
there to be a female presence in this song. There

913
00:50:10,599 --> 00:50:12,719
had to be, and it's a theme through a lot

914
00:50:12,800 --> 00:50:14,639
of my songs. There's a lot of there's a.

915
00:50:14,639 --> 00:50:16,000
Speaker 4: Lot of vocal tracks on this too.

916
00:50:17,199 --> 00:50:20,320
Speaker 2: Jade Bailey also released a single yesterday, check out Jade

917
00:50:20,320 --> 00:50:23,519
Bailey Everybody. She's actually on the chorus of this as well. Okay,

918
00:50:23,639 --> 00:50:26,440
so we have on this course. We have faith, we

919
00:50:26,599 --> 00:50:30,320
have Jade, we have Caleb, myself and Alec the bass

920
00:50:30,360 --> 00:50:33,480
player to make it big. And I'm listening to it.

921
00:50:34,360 --> 00:50:37,039
I'm listening to it. You know, faith is faith is

922
00:50:37,159 --> 00:50:39,920
loving it, and everybody's loving it. And I'm like, it's

923
00:50:40,079 --> 00:50:43,119
just not right. This should be a duet because of

924
00:50:43,400 --> 00:50:45,440
because of what she did and how she put her

925
00:50:45,519 --> 00:50:49,119
mark on things and the way we organize the lyrics,

926
00:50:49,159 --> 00:50:51,320
it already sounded like a duet. But so I'm like,

927
00:50:51,920 --> 00:50:54,320
if I just get her to sing two lines in

928
00:50:54,440 --> 00:50:57,239
the verse and have her take the lead on two

929
00:50:57,280 --> 00:51:00,320
of the lines, this is a duet and that's what's

930
00:51:00,360 --> 00:51:02,639
gonna make this tune. So I text her back again.

931
00:51:02,679 --> 00:51:05,320
I'm like, hey, you know, I said, everything's so great,

932
00:51:05,599 --> 00:51:08,159
can you come back down. She's I'd love to and

933
00:51:08,320 --> 00:51:10,360
and and she's a pro, like in in the in

934
00:51:10,480 --> 00:51:14,119
the studio, she just came down absolutely nailed the tracks

935
00:51:14,320 --> 00:51:17,119
and and like sometimes you're working with singers and uh,

936
00:51:17,199 --> 00:51:18,679
you know, because we miss notes and we have to

937
00:51:18,760 --> 00:51:21,639
retake with With her, it was just like we both

938
00:51:21,679 --> 00:51:25,440
knew when she missed something, stop, rewind go, Like there

939
00:51:25,519 --> 00:51:27,360
was no like, oh, I thought that was good, or

940
00:51:28,000 --> 00:51:30,719
let's talk about it, let's worry about feelings. It was

941
00:51:30,920 --> 00:51:34,760
just like, all right, let's hit it. And so she did.

942
00:51:35,039 --> 00:51:37,239
She came down, She's sang the other two lines.

943
00:51:37,480 --> 00:51:40,320
Speaker 4: And I love singers that can admit when they're wrong.

944
00:51:41,440 --> 00:51:46,000
Speaker 2: I have to I'm wrong a lot, yeah, which is

945
00:51:46,159 --> 00:51:49,119
you know, it is what it is. But so then

946
00:51:49,119 --> 00:51:51,760
we're digging in and I'm like, just like on your toes.

947
00:51:51,800 --> 00:51:54,000
I'm like, all right, finally the song's done. Like I

948
00:51:54,079 --> 00:51:58,480
can get Kale down here to mix it. Caleb's like,

949
00:51:58,679 --> 00:52:02,639
let's go. Because we recorded these tracks the guitars years ago.

950
00:52:02,760 --> 00:52:04,719
He's like, what guitars are you using? And I'm like,

951
00:52:04,880 --> 00:52:09,079
I don't know, and he started digging into the guitar

952
00:52:09,199 --> 00:52:11,480
tracks and the plugins that I used it.

953
00:52:11,639 --> 00:52:12,519
Speaker 1: It was just awful.

954
00:52:13,239 --> 00:52:15,480
Speaker 2: And so I'm like it was another situation where it

955
00:52:15,559 --> 00:52:17,920
was like midnight and Caleb's like, I'm going home. You

956
00:52:18,119 --> 00:52:21,199
figure it out. And again I was there till four

957
00:52:21,239 --> 00:52:24,360
in the morning re recording every guitar track on it,

958
00:52:24,440 --> 00:52:28,840
including the solo, and then the song was done. And

959
00:52:29,280 --> 00:52:33,639
when I wrapped on that, it was three days before

960
00:52:33,679 --> 00:52:36,280
the release. I had to re send it over to

961
00:52:36,360 --> 00:52:40,199
my mastering engineer, Chris Cormier, who is absolutely wonderful and

962
00:52:40,440 --> 00:52:43,039
and I keep seeing when I talked to him, like

963
00:52:43,039 --> 00:52:44,960
you're gonna hate me, dude, but I need another one. Yeah.

964
00:52:44,960 --> 00:52:46,280
I even had to do it to him the other day.

965
00:52:46,760 --> 00:52:48,519
I need some some masters. I forgot to do the

966
00:52:48,599 --> 00:52:53,199
radio edits and Matt Texan me and so finally it's

967
00:52:53,280 --> 00:52:57,760
done the day before it goes the day before I

968
00:52:57,800 --> 00:53:01,679
post everything, and uh, everybody that's been involved in this song,

969
00:53:01,880 --> 00:53:04,760
from from Faith to Nick Jay, I don't have to

970
00:53:04,800 --> 00:53:07,119
mention everybody. Just rewatch the interview. Guys, I'm gonna keep

971
00:53:09,599 --> 00:53:12,920
I just am so so blessed that that when I

972
00:53:13,039 --> 00:53:16,760
was having a horrible twenty twenty four, all these people

973
00:53:16,880 --> 00:53:18,599
came out of the woodwork and I have such a

974
00:53:18,639 --> 00:53:19,599
great support system.

975
00:53:20,079 --> 00:53:23,119
Speaker 1: Awesome, awesome. Well we're gonna play this. We're gonna play

976
00:53:23,159 --> 00:53:25,880
this to wrap up the segment. But guys, I want

977
00:53:25,920 --> 00:53:27,559
to thank you both so much. Jess, thank you, thank you,

978
00:53:27,760 --> 00:53:30,280
Jesse Rutstein, Caleb Dyer, thank you both for coming in.

979
00:53:30,360 --> 00:53:33,599
Congratulations on the EP. It is amazing. Thank you and

980
00:53:34,000 --> 00:53:36,639
absolutely and if you are listening live on Saturday, we

981
00:53:36,719 --> 00:53:38,800
have Lyle Hutchins, who's going to be joining us via

982
00:53:38,920 --> 00:53:42,199
Microsoft Teams at the top of the hour. Looking forward

983
00:53:42,199 --> 00:53:44,920
to that. But again, check this out. This is so good.

984
00:53:45,320 --> 00:53:48,079
This is Lost in it All, featuring Faith and from

985
00:53:48,119 --> 00:53:51,440
the new Jesse Rutstein EP and the it's just called

986
00:53:51,519 --> 00:53:53,559
Jesse Rutstein, right, it's yeah, completely so.

987
00:53:53,800 --> 00:53:56,239
Speaker 2: Leading up to Superhero Toys that the full length.

988
00:53:56,320 --> 00:53:58,480
Speaker 1: Oh yeah, looking forward to that. Very cool. All right

989
00:53:58,519 --> 00:53:59,960
here it is this is lost in at all.

990
00:54:17,480 --> 00:54:22,320
Speaker 5: We made plans to see the bed because my friends

991
00:54:22,400 --> 00:54:28,960
plays rum spend a long week and I can't I

992
00:54:29,119 --> 00:54:29,960
can't wait.

993
00:54:29,880 --> 00:54:30,800
Speaker 7: To get it all.

994
00:54:31,000 --> 00:54:35,119
Speaker 13: Jim, It's sometimes I gotta let the sort of uncle

995
00:54:35,280 --> 00:54:38,920
play lose my son to sit here. Good to me

996
00:54:40,159 --> 00:54:47,960
having little fun baby gets her. It's just something about

997
00:54:48,119 --> 00:54:51,159
pelsa way that you.

998
00:54:54,280 --> 00:54:55,719
Speaker 7: Have no thing.

999
00:54:56,000 --> 00:55:01,639
Speaker 5: Please make speak again upbout my ain't getting lost in

1000
00:55:01,880 --> 00:55:02,559
it all.

1001
00:55:04,599 --> 00:55:09,920
Speaker 10: Because we all work hard. We're getting lost in it all.

1002
00:55:11,760 --> 00:55:15,599
Somebody big Ben, I'm gonna sit ride in and we

1003
00:55:15,800 --> 00:55:17,559
getting lost in it all.

1004
00:55:20,039 --> 00:55:22,800
Speaker 7: They fan out in a long time.

1005
00:55:24,199 --> 00:55:49,000
Speaker 5: It's I just lie and joy in my No, I

1006
00:55:49,079 --> 00:55:54,039
ain't seen this curling a lot time announce singing on.

1007
00:55:54,280 --> 00:56:00,280
Speaker 14: Studios well because they messed out being a lout dressing man,

1008
00:56:00,480 --> 00:56:06,119
just riling away then be getting an sense something you

1009
00:56:06,280 --> 00:56:09,119
want m my partifi to.

1010
00:56:09,599 --> 00:56:17,119
Speaker 13: Benny, not even chin the bons n and nine spent.

1011
00:56:17,239 --> 00:56:27,800
Speaker 5: Benny, listen something about the music play song brings the cheese,

1012
00:56:28,519 --> 00:56:29,639
ma'am master.

1013
00:56:29,519 --> 00:56:32,599
Speaker 7: One, I been in he do.

1014
00:56:36,159 --> 00:56:41,360
Speaker 10: Because they all work looking bosses a doll.

1015
00:56:43,159 --> 00:56:46,440
Speaker 7: Somebody got me a bill. I'm gonna shad right.

1016
00:56:46,320 --> 00:56:48,119
Speaker 5: Out here and get lost.

1017
00:56:48,480 --> 00:56:56,559
Speaker 7: The dog a been down along my chime and not just.

1018
00:56:57,199 --> 00:57:02,960
Speaker 2: My ooh, I just cho my.

1019
00:57:14,559 --> 00:57:29,760
Speaker 8: Host because we all can't lost, just got it, got

1020
00:57:30,039 --> 00:57:31,360
things dat a.

1021
00:57:31,480 --> 00:57:33,880
Speaker 7: Baby didn't lost.

1022
00:57:36,679 --> 00:57:42,440
Speaker 5: I want to say that down long shy, Now on

1023
00:57:47,719 --> 00:57:49,199
Speaker 7: Joy my n