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Speaker 1: But right now, and this is the gentleman who is

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responsible for that song Cops on Acid. Plague Dad is here.

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Let me get that mic up there. Frank Gallagher, better

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known as Plague Dad. Hello, sir, how are you doing?

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Thanks so much for having me. Yeah, we're very happy

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to have you here. We're going to play some of

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your other tunes today as well. But I do have

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to ask you right off the top, is that song

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Cops on Acid? Is that based on an actual experience?

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Did you encounter a member of law enforcement who was

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on acid? Well?

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Speaker 2: No, not so much that that was more the speculative part.

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It is actually based on an incident though a former life.

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I used to be a bike messenger back in San Francisco, Okay,

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So I rode around the city delivering things, picking up

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things and dropping them off for money. So one day

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I had picked up a filing that needed to make

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it to city Hall by it for thirty a deadline,

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you know, and need to get there quick quick. It

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was on my way. I was riding up Marcus Street

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as quickly as I could, and I ran into a

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police officer who was the doors of his cruiser were

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wide open and he was directing traffic, but blaring out

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of the He was listening to the dead out of

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the out of his cruiser while he was directing traffic,

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and I was like, okay, that's just interesting that you

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don't see that every day, and it stuck with me,

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And then later that night wrote that song.

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Speaker 1: Oh okay, I know, I thought, maybe, so what about

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the shooting of the dog, because that that does happen.

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Speaker 2: As you know it does. That was something that was

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literally torn from the headlines, so to speak. So that was,

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you know, I mean, with with songwriting, you try to,

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at least my approach is to try to start from

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something personal, whether it's deeply personal or superficially personal. I mean,

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I guess really is a judgment call, but then try

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to establish some connections and broaden the universality of it.

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At that point, and given everything that's going on with

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our police these days, that seemed to be actually because.

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Speaker 1: They will if you have a dog who needs to

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be put down, they will they will do it for you.

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Oh yeah, you just have to have a you know,

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like if you have a warrant for something, they'll show

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up at your house. Well they're well, they're they're they're

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if you know, if you have like Old Yeller or something,

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you don't want to do it yourself. Yeah, anyway, but

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you're not. But just to be clear, you're not you're

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you're not pro law enforcement on acid.

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Speaker 2: You're I assume, well, you know, I always think that

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drug uses a personal choice. Yeah, you know, while if

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if somebody who holds that position wants to do that,

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that would be fine. I probably while they're not on right,

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you know, right, but in what they do in their

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own time is their their their business.

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Speaker 1: It is a it is a fun song though very

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catchy is and then it's fun and it's uh, it

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makes me laugh when I listen to it, and we

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should say, so you're getting some traction with this, you're

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getting an airplane?

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Speaker 3: Yeah?

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Speaker 1: Uh do you know? Uh, do you have any idea

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how many stations at this point have picked it up?

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Speaker 2: Eight or ten that I know of, Yeah, you know

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throughout New England. And then there's something califun one of

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the just started to play it as well. You know.

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I mean it's funny because you look at you know,

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technology these days, like Apple Music. You know, for the

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artists now, if you're on Apple Music, they have started

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to track radio plays, yes, and they will tell you

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what stations. So it's gotten some play, and it's amazing,

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Like the Midwest, it's gotten some play out in the Midwest.

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It's gotten some play in Brazil, yeah, you know. I mean,

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it's gotten some play in Japan. It's so it's it's

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starting to get subtraction. And you know, I've noticed that

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shows now, I play a lot of shows.

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Speaker 3: For me, that's the essence of music.

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Speaker 2: I mean, I love making records and I love radio,

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but music to me is and essentially it's a it's

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a very deeply personal experience. Yes, and so at shows

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now when I play that song, people are actually starting

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to sing along.

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Speaker 1: Oh that's great, blows me away, excellent. Yeah, that's very cool.

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That's that's awesome. We should mention too, And I'll put

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the camera back on me for a moment for people

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watching online on the face spook or YouTube so people

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can see it. So you brought this, yeah, I'll kind

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of hold it up. You can't can't zoom in unfortunately,

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But so this is now, this is vinyl.

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Speaker 2: It is it's a seven inch record, very cool for

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songs on it, very cool.

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Speaker 1: Yes, So a seven inch for for those who don't know,

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young people might not know, uh that is it's like

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and this will you can put this on on a

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regular turn take absolutely obviously. Yeah. But for people who

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don't know, you know, because Vinyl has had such a resurgence,

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but to see a seven inch like this, that's unusual.

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Speaker 2: Well, it's very I pressed two hundred copies of these,

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I've sold more than one hundred of them now, I

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just realized, which is amazing for me. I mean, to

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sell one hundred and seven inch records is just and

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again getting back to that deeply personal experience. I mean

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I listened to music through all sorts of medium. I

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listened Spotify, I listen to band camp, I go to shows,

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I listen to records. But what I'm finding out is

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that for a growing number of people, they want some

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sort of physical connection to the music and a record

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or a cassette or to a lesser extent of CD.

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We'll provide that.

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Speaker 1: Yeah.

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Speaker 3: I mean that's the first fifty copies of that.

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Speaker 2: Come with a comic book as well that you can

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only get with this record. And it was done by

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the artist named Paul Kurt John who did the cover

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art as well, and he's a fairly well known comics

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underground comics artist in the UK. And I ran into

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him online because on this record is a cover of

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a tune by Black Flag called six Pack, and we

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can't play it here today because it's a heavy laden

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with profanity and just isn't appropriate for the audience on

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a Saturday morning here. But yes, he came. He's a

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Paul is an enormous Black Flag fan, and he came

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across the song and we hooked up and we talked,

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and he's offered to do the cover of the record

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because he just really dug the tune and I was like,

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oh yeah, man, absolutely so. And then he said, well

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could you you want to do a comic book too.

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I said, I'll draw comic book and you could just

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give it away.

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Speaker 1: Wow.

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Speaker 2: So he sent me the files you know, from the UK,

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and I printed it here and I printed fifty copies.

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I have eight left. I keep forgetting to bring the

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comics to the shows when I the records, so you know,

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mail order you definitely get the comic book you come

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to a show. If I remember to bring up I

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did bring him today. I'll bring one in after the

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show Okay, all right, thank you. Yeah, it's uh, it's

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a it's a it's a it's a very offensive comic

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book to some people. Yeah, it's it's it's it pushes

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the boundaries. Okay, okay, which is read up my alley?

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Speaker 1: Now? Where do you record? You know?

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Speaker 2: I record wherever I can. Honestly, this record was recorded

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at Monaco Studios in Falmouth, Maine, and it was engineered

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and mixed by a by a man named Dan Capaldi,

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who is an absolutely gifted producer, engineer, musician. This guy

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has some of the best ears that I've ever run across.

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And he also plays drums and sits in with me

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sometimes it shows if I.

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Speaker 3: Need a drummer.

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Speaker 2: Oh okay, So he's played with me a couple of times.

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He plays with everybody in Portland. If you've seen a

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band in Portland, you've probably seen Dan Capaldi play drums

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or bass or guitar.

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Speaker 1: Or you know, well, every every drummer I know, I

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mean it's a consistent theme on the show. Every drummer

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I know is in like multiple multiple bands.

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Speaker 2: Indeed, So this one was recorded there at Monaco Studios.

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Now Dan has his own little studio. Now that he's

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just set up in Portland. I don't even know what

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has a name yet, but I hope to do some

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recording there. I also, do you know, I'm touring part

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of it. I play a lot of shows with a

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band called Vice's Inc. Who are supposed to be here

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this morning. They couldn't make it. That's by virtue of

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their absences. I guess that's how I sort of walked

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into this. But they have a studio, so I'm gonna

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be doing some record there. I've done some recording with

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them as well, excellent, so really wherever.

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Speaker 3: I can sit it in. I also just record up

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in my attic.

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Speaker 2: I have a little home studio that I demo things

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up there, and I try to record as many live

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shows as I can, really, yeah, because every live show

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has a different feel. So I just did a tour

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in August with Vices Inc. And I recorded a bunch

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of those shows. And I have another set that I

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recorded at the tody In Theater in Portland where I opened.

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Speaker 3: Up a film festival.

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Speaker 2: I was the opening act for film, so I recorded

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that that was with a full band, very much the

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sound that you heard with this track that you played,

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you know, bass drums, mandolin, vocals, guitar. So I have

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a half hour set of that sound and then I

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have another show this a half an hour that's solo,

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just me and a foot drum.

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Speaker 3: And and you know, and and it's.

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Speaker 2: Very different field, but it's the same songs. Yeah, I

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mean literally, I mean it's almost the same set list.

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Speaker 1: Okay.

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Speaker 2: So I'm going to release that on a cassette only release. Okay,

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So you're gonna get you know, the full band on

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one side and the solo set on the other side,

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and I'm gonna print one hundred copies. They're in production

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right now, and Paul is going to do the cover

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right for that as well. Okay, and those are going

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to be available on my website Plague dot Dad. Yeah,

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and on my band camp page as well.

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Speaker 1: By the way, I think it's so cool that your

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side is Plague dot Dad because a lot of people too.

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You know, I'm a web designer, so I know this,

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but a lot of people probably don't even realize that.

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You know, you can get a lot of different you know,

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you know, it doesn't have to be dot com or

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dot net or you know, at this point, you can

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get almost anything. If you're willing to pay for it.

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Speaker 2: Oh yeah, yeah, you know it's funny. I kind of

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backed into this one too, because I do a lot

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of this myself. So I built the website myself. I

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did you know, I came to the U r L

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myself them all the marketing. I mean, that's sort of

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the nature of the music business these days.

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Speaker 1: Yeah.

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Speaker 2: And I went through I'm going to name and shame

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here went through go Daddy to buy my domain name.

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I had plague dad dot com. Yeah it was you know,

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which was fine, and I got it for a year

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and it went to what it expired.

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Speaker 1: Yea.

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Speaker 2: And Go Daddy has created a company now and they

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bought the thing out from under me and offered to

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sell it back to me for six hundred dollars. And

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I was like, you know what, I'm done. Not only

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am I done, I'm actually gonna just, you know, whenever

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the opportunity comes up, I'm gonna talk smack about you.

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So here we are talk a smack about go Daddy,

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because if that's their business model for independent artists, then

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they are going down the wrong road. So now I

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found somebody else. So I've learned how to do this myself.

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I change the domain plague dot Dad.

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Speaker 3: It's much better.

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Speaker 1: Who do you own the we should plug? Who do

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you own the domain through?

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Speaker 2: Now you know it's uh, I believe it's through banned

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Zoogle I think is yeah. Yeah, And they help with

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the website and make it really easy and set up

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the store to sell the records. I mean, it's just

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sort of a one stop shop. And for a musician

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who is really trying to, you know, do everything themselves,

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they have a suite of tools that makes it just

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as easy as it can possibly be.

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Speaker 1: Absolutely one hundred Yeah, No, that's that's that's very cool.

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Uh So where does the name come from? Playing dad?

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Speaker 2: And people can probably guess indeed.

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Speaker 1: That you know, they're there. We we did go through

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a little bit, people might remember, Yeah, a bit of

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a pandemic.

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Speaker 3: Yeah.

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Speaker 2: Absolutely, well, in fact, that is where it comes from. Yeah,

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you know, when the pandemic emerged, Like a lot of folks,

250
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I lost my job at the time, so I had

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a lot of time on my hands. I ended up

252
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in my attic just writing songs. And I've always been

253
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a musician, you know, yeah, and writing some songs and

254
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recording them and I would send them out to friends

255
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or post them on you know, snippets on social media,

256
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and it started to get some traction and it's like, well, wow,

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that's kind of cool.

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Speaker 3: So the name just sort suggested itself.

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Speaker 2: I mean, we during that time, we sort of all

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for better or worse turned inward. I mean it was

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very you know, you were alone and with your family.

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In my case, I have actually I am a father,

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I have you know, three kids, and it's just sort

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of emerged as a in that in a time like that,

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you know, you're you're at least for me, family was

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one of the most important things.

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Speaker 3: And so.

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Speaker 2: It's just sort of captured everything that was going on

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at that time, both personally and culturally for me in

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a in a bumper sticker, if you will.

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Speaker 3: And I'm from a marketing.

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Speaker 2: Perspective, I was like, all right, that that really conjures

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up everything that I would need a band name.

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Speaker 1: Right.

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Speaker 3: It does what it needs to do as a band.

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Speaker 1: Name, right right. Yeah, No, it's great. And I regular

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listeners hearing me say this all the time, but you know,

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but I always say, you know, the pandemic was an

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awful experience for us all but you got to find

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these silver linings where you can And one of the

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big silver linings is, you know, just broadly, is it

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really kind of forced people to be more creative and

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find ways to do things or expand on existing ways

284
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to do things. But you know, for example, you saw

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a lot of like bands, you know, doing online performances

286
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where they're all in separate places, that kind of thing. Yeah,

287
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it also opened people up to people who may have

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been you know, because I always I ask every guest,

289
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you know, where do you record? Because you have so

290
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many options now, But it really kind of I think

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the pandemic opened people up to people who maybe were

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resistant to you know, just sending files back and forth

293
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and recording that way now found themselves in a position

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where okay, well I guess I better figure out how

295
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to make this work. So it really kind of I

296
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think expanded the boundaries that people have in their minds

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in terms of how to be of how to make

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music or anything else.

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Speaker 2: Oh indeed, no, no, no, no question. And you know

300
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it's interesting some that with all the technology that exists now,

301
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it provide it there's a toolbox that is unprecedented, I mean,

302
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from from a musical perspective, power that we have available

303
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to us now as musicians is exponentially stronger and more

304
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robust than it was even just a couple of years ago. Yeah,

305
00:14:27,320 --> 00:14:31,440
ten or twenty years ago. Curiously, though, I used that

306
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technology too. I wanted to create a sound and and

307
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some material that could be played should that technology not

308
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be available. You know, I mean, what can I just

309
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do with a voice, right, some wood and some guitar strings,

310
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you know, wooden instruments that don't have to be amplified.

311
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You know, a foot drum, you know, these these tools

312
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that are there regardless of whatever the technology situation is.

313
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And again it gets back to that connection, that deep

314
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personal connection. I'm not saying that, you know, you can't

315
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forge that connection through technology, but I was looking for

316
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something a little more primal. Yeah, and so I really,

317
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you know, you made an artistic decision to base this

318
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in acoustic instruments, and that acoustics sound filtered through that

319
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punk rock ethos that brought me into music in the

320
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first place.

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Speaker 1: Yeah, so so prior to this, so prior to plague, Dad,

322
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what what were you doing musically before? Were you in

323
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a band or were.

324
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Speaker 2: You Yeah, this is a long sort of tale. How

325
00:15:45,080 --> 00:15:46,559
much time we have time.

326
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Speaker 1: Yeah, it's only nine twenty, we have time. I love

327
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a long sort of tale. Yeah.

328
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Speaker 2: No, I started playing you know, a lawn back in

329
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the ties, you know, into this.

330
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Speaker 3: I'm in my fifties. Okay, so I started playing.

331
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Speaker 2: My first band was a band called Scouts on Her

332
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and I went to the Berkeley College of Music and

333
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was with a couple of Berkeley students who happened to

334
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be from San Francisco. Oh and we, you know, we

335
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gigged around Boston. We played the rat we played T

336
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T's you know, you know, we're doing some things like that. Yeah,

337
00:16:16,519 --> 00:16:18,360
and then these guys said, you know what, let's just

338
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move to San Francisco.

339
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Speaker 1: Man, let's just Yeah.

340
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Speaker 2: So we bought a school bus, ripped out the seats,

341
00:16:23,600 --> 00:16:25,720
threw all a crap in, and moved to San Francisco.

342
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Speaker 1: Okay, yeah, now what what year was this?

343
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Speaker 2: This is in nineteen eighty seven, okay, eighty seven. So

344
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we started playing around there and did pretty well, put

345
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out a record. We were We ended up playing a

346
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show with Nirvana, No kidd, playing a show with the

347
00:16:42,159 --> 00:16:44,360
Google Dolls. We ended up playing with a couple of

348
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you know, bands like Alice Donut and Primus and mister

349
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Bungle and I mean we were going up and down

350
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the West coast, playing from La to Seattle, doing that

351
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whole thing.

352
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Speaker 1: Yeah.

353
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Speaker 3: Yeah, and uh you could you know.

354
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Speaker 2: It's still a copy a couple of copies of that

355
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record around subware. I'm sure you could find it on

356
00:17:02,440 --> 00:17:04,559
eBay or discogs or something like that.

357
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Speaker 1: Yeah.

358
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Speaker 2: But uh, it got to the point where that just

359
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wasn't fun anymore.

360
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Speaker 1: What did it become more like work?

361
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Speaker 2: It did, Yeah, and it became you know, it's a grind.

362
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Speaker 1: I mean people think, you know, people think, oh, you

363
00:17:18,680 --> 00:17:21,359
go on tour and oh my god, it's just uh

364
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wine women in songs I writ someone say once and

365
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it's it's not right.

366
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Speaker 2: Yeah no. And beyond that, there's just sort of the

367
00:17:27,920 --> 00:17:32,079
emotional aspect to it as well. You know, I've a

368
00:17:32,799 --> 00:17:36,720
I've come to understand on the deeply personal level that

369
00:17:37,200 --> 00:17:42,640
comparison is the thief of joy. And at that point

370
00:17:42,720 --> 00:17:45,759
in my life as a young person, You're all about

371
00:17:45,839 --> 00:17:46,400
am I doing?

372
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Speaker 4: Am I?

373
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Speaker 3: Am I? Is it successful? Is it going to be successful?

374
00:17:49,680 --> 00:17:49,799
Speaker 2: What?

375
00:17:49,839 --> 00:17:50,039
Speaker 1: Am I?

376
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Speaker 2: You know? I mean it's all about that competition. And

377
00:17:53,680 --> 00:17:55,960
one day we had booked a show and we were

378
00:17:55,960 --> 00:17:58,400
going to open for Helmet at the Kennel Club, which was,

379
00:17:58,640 --> 00:18:00,359
you know, a club in San Francisco at the time

380
00:18:00,400 --> 00:18:04,119
on the Visitarro Street. And the guy we had played

381
00:18:04,160 --> 00:18:05,960
there a couple of times and the shows great. And

382
00:18:06,000 --> 00:18:08,480
the club owner called me back a couple of weeks

383
00:18:08,480 --> 00:18:10,279
before the show and he said, you know what, you

384
00:18:10,279 --> 00:18:11,160
guys are off the show?

385
00:18:11,839 --> 00:18:12,359
Speaker 3: Why?

386
00:18:12,640 --> 00:18:14,240
Speaker 2: He said, well, you know, we got to call. Helmet

387
00:18:14,279 --> 00:18:16,480
was on amphetamine Reptile at that time, before they had

388
00:18:16,480 --> 00:18:19,799
gotten big huge, and he said, you know, the label

389
00:18:19,839 --> 00:18:21,680
called and they said, we can't get Helmet unless we

390
00:18:21,720 --> 00:18:26,559
take these two other acts promote as well. Sorry, and

391
00:18:26,599 --> 00:18:29,240
that was it. I could just feel something just snapped.

392
00:18:29,759 --> 00:18:32,160
You know what, I'm done.

393
00:18:32,480 --> 00:18:35,720
Speaker 3: This is it. I just can't do this anymore.

394
00:18:35,920 --> 00:18:36,400
Speaker 1: Yeah.

395
00:18:36,519 --> 00:18:39,400
Speaker 2: So I went back. I left San Francisco. I went

396
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back to school.

397
00:18:40,519 --> 00:18:42,759
Speaker 1: And did you go back to Berkeley or no.

398
00:18:42,799 --> 00:18:45,559
Speaker 2: I went to orn I went to U Maie and

399
00:18:46,200 --> 00:18:49,119
became a journalist, reporter. I was a reporter for a

400
00:18:49,200 --> 00:18:52,400
long time reporter, columnist.

401
00:18:51,880 --> 00:18:52,519
Speaker 3: And an editor.

402
00:18:53,319 --> 00:18:55,880
Speaker 2: Made my way back to San Francisco, where I actually

403
00:18:55,920 --> 00:18:59,559
covered city hall politics in San Francisco for for quite

404
00:18:59,559 --> 00:19:01,759
a while. And what's fascinating to me is that the

405
00:19:01,759 --> 00:19:04,960
folks who are merging into the national power structure. Now, Yep,

406
00:19:05,400 --> 00:19:08,039
Gavin Knwsom, who was the governor, Kamala Harris, Who's are

407
00:19:08,240 --> 00:19:10,640
these were the folks who were holding local offices when

408
00:19:10,680 --> 00:19:13,240
I was covering that, Oh wow, city Hall. I remember

409
00:19:13,279 --> 00:19:16,160
when Gavin was appointed to the city council by Willie Brown.

410
00:19:16,640 --> 00:19:19,079
A good friend of mine was Kamala's chief of staff

411
00:19:19,079 --> 00:19:21,920
when she was the district attorney. So you know, I

412
00:19:21,960 --> 00:19:25,200
did that for a very long time. Yeah, and wow,

413
00:19:25,319 --> 00:19:26,240
the background of prince.

414
00:19:26,160 --> 00:19:27,480
Speaker 1: Journalism, oh wow.

415
00:19:27,680 --> 00:19:30,519
Speaker 2: And got married, raised some kids and just sort of

416
00:19:30,640 --> 00:19:34,559
set the music things aside for a while to concentrate

417
00:19:34,640 --> 00:19:38,880
on journalism and raising my family.

418
00:19:38,920 --> 00:19:41,400
Speaker 1: And yeah, you know, wow.

419
00:19:41,039 --> 00:19:46,079
Speaker 2: When the pandemic rolled around again, though, the opportunity presented

420
00:19:46,079 --> 00:19:48,960
itself to get back into some of the music.

421
00:19:49,200 --> 00:19:50,880
Speaker 3: Yeah, so I did.

422
00:19:51,200 --> 00:19:54,000
Speaker 2: Yeah, yeah, and you know, three and a half four

423
00:19:54,079 --> 00:19:57,559
years into it, it just keeps rolling, which is you know, yep,

424
00:19:58,519 --> 00:20:00,079
I'm thankful for that every day.

425
00:20:00,039 --> 00:20:04,160
Speaker 1: Oh excellent, excellent. We should uh, well, let's play another track. Sure,

426
00:20:04,559 --> 00:20:05,680
I'll I'll let you pick.

427
00:20:06,759 --> 00:20:08,720
Speaker 2: Well, you know, there's like there's four songs on this

428
00:20:08,799 --> 00:20:11,240
record the Uh there's the there's one.

429
00:20:11,079 --> 00:20:15,480
Speaker 3: Called Slip the Leash, which really speaks.

430
00:20:15,119 --> 00:20:18,680
Speaker 2: To sort of my love hate relationship with technology.

431
00:20:18,799 --> 00:20:20,519
Speaker 1: Oh okay, in a minute and a.

432
00:20:20,519 --> 00:20:24,279
Speaker 2: Half, very short, which mix should we go with? Well,

433
00:20:24,319 --> 00:20:26,440
you know, let's let's do that. Let's do the Monoco

434
00:20:26,519 --> 00:20:28,640
mix and then talk about the you know, because I

435
00:20:28,720 --> 00:20:29,920
like to remix tunes and.

436
00:20:32,599 --> 00:20:33,759
Speaker 3: We've done that with someone.

437
00:20:34,440 --> 00:20:36,440
Speaker 1: Right right, Okay, so we'll play the Monaco.

438
00:20:36,720 --> 00:20:39,119
Speaker 2: Uh, Monica being the studio where we recorded it, which

439
00:20:39,119 --> 00:20:39,839
is why it's got that.

440
00:20:40,200 --> 00:20:43,559
Speaker 1: Yeah yeah yeah, and uh yeah, great great sound coming

441
00:20:43,559 --> 00:20:43,960
out of there.

442
00:20:44,240 --> 00:20:45,119
Speaker 3: Fantastic studio.

443
00:20:45,160 --> 00:20:47,920
Speaker 2: Sam Monico, who was the host of the Locomotive Show

444
00:20:47,960 --> 00:20:53,599
on w Mpghay Portland, is a fantastic support of the

445
00:20:53,640 --> 00:20:56,680
local music scene in and he's just a great guy.

446
00:20:56,680 --> 00:20:59,519
Speaker 3: And it's a it's a that studio is remarkable.

447
00:20:59,759 --> 00:21:03,319
Speaker 1: Oh okay, let's give this a listen. So this is

448
00:21:03,359 --> 00:21:06,400
called whoops. Oh there it is Slip the Leash, the

449
00:21:06,480 --> 00:21:09,759
Monico mix, and play Dad, check this out.

450
00:21:17,160 --> 00:21:20,559
Speaker 5: It's all got smartphones and a wish to christ.

451
00:21:20,880 --> 00:21:25,240
Speaker 2: I didn't have mine, but I need it for work.

452
00:21:27,200 --> 00:21:32,799
Speaker 5: I need it for work. We've all got lap office.

453
00:21:32,920 --> 00:21:38,599
Dad's how we all in the world stay. That's how

454
00:21:38,720 --> 00:21:39,480
we can next.

455
00:21:41,200 --> 00:21:45,039
Speaker 4: At least that's what they say.

456
00:21:46,119 --> 00:21:50,839
Speaker 2: I live near the airport, right under the night Dad.

457
00:21:52,759 --> 00:21:54,599
Speaker 3: I hear the engines.

458
00:21:55,640 --> 00:22:03,200
Speaker 4: And I see the things you take the kids the airport.

459
00:22:01,960 --> 00:22:03,480
Speaker 5: Still get the nights.

460
00:22:04,799 --> 00:22:09,000
Speaker 4: Week talking about where we might go Stata.

461
00:22:13,839 --> 00:22:16,480
Speaker 5: Smartphones and a Wesh Christ.

462
00:22:16,839 --> 00:22:18,000
Speaker 3: I didn't mind.

463
00:22:19,559 --> 00:22:23,960
Speaker 5: I need it for work. They hate job.

464
00:22:27,200 --> 00:22:30,480
Speaker 1: That is slip the leash. That is a Plague Dad.

465
00:22:30,559 --> 00:22:32,640
We have Frank Gallagher of Plague Dad here with us

466
00:22:32,680 --> 00:22:36,240
alive in studio. That uh, that song in particular, I

467
00:22:36,279 --> 00:22:40,079
think is relatable in that Uh. I think probably a

468
00:22:40,160 --> 00:22:42,519
lot of people feel that. Well, I shouldn't even say probably,

469
00:22:42,559 --> 00:22:44,720
I know a lot of people feel that way because, uh,

470
00:22:45,559 --> 00:22:47,759
people talk about it all the time on on Facebook.

471
00:22:47,799 --> 00:22:50,359
You'll you'll see and hear people well, I shouldn't say

472
00:22:50,359 --> 00:22:52,920
you'll hear, but you'll see people talking about in post.

473
00:22:53,000 --> 00:22:55,279
You know. I hate uh, I hate all this technology.

474
00:22:55,359 --> 00:22:57,759
Speaker 2: Well it's funny. I mean this of one company now

475
00:22:57,839 --> 00:23:00,160
has made at the centerpiece of their new ad camp Pain.

476
00:23:00,160 --> 00:23:02,880
It's the ads featuring Atlantis Morse that yeah, or talking

477
00:23:02,920 --> 00:23:04,680
about how we all have to use our phone and

478
00:23:05,279 --> 00:23:08,039
people it's this sort of this love hate relationship with technology.

479
00:23:08,119 --> 00:23:11,759
And it's fascinating to me from a cultural and a

480
00:23:11,839 --> 00:23:14,599
personal perspective, because you know, the promise of the internet

481
00:23:14,759 --> 00:23:16,799
was that it would create community and that it would

482
00:23:16,799 --> 00:23:19,480
bring us all together, right, and in some ways it

483
00:23:19,640 --> 00:23:22,480
absolutely has done that, But in many other ways it

484
00:23:22,640 --> 00:23:26,880
has done exactly the opposite. It has fractured communities, it

485
00:23:27,000 --> 00:23:33,000
has destroyed communities, and it has very much provided people,

486
00:23:33,440 --> 00:23:37,359
you know, this illusion of community when really they're just

487
00:23:37,839 --> 00:23:41,319
in their own cocoon with that with that phone, and

488
00:23:41,400 --> 00:23:43,240
they interact and people I shouldn't.

489
00:23:43,240 --> 00:23:43,759
Speaker 3: I don't say that.

490
00:23:44,039 --> 00:23:47,000
Speaker 2: I'm as guilty of it as anybody. But we interact

491
00:23:47,119 --> 00:23:52,720
these days through a screen as opposed to intentionally and personally,

492
00:23:56,440 --> 00:24:00,720
which is it is what it is.

493
00:24:00,799 --> 00:24:03,200
Speaker 3: We we make our own decisions about how we deal

494
00:24:03,240 --> 00:24:03,400
with that.

495
00:24:03,759 --> 00:24:08,960
Speaker 1: I think, yeah, And people say things to online that

496
00:24:09,000 --> 00:24:11,680
they would never say in person, you know, And and

497
00:24:11,759 --> 00:24:14,759
the way people treat each other online, I mean, you know, yeah,

498
00:24:14,880 --> 00:24:16,559
like some of the things that have been said to

499
00:24:16,599 --> 00:24:19,119
me online. It's like, you know, sometimes I think, uh,

500
00:24:19,680 --> 00:24:21,680
you know, I'm not a violent person by any stretch,

501
00:24:21,680 --> 00:24:23,440
and I'm no tough guy, but if this person said

502
00:24:23,480 --> 00:24:25,319
that to me in real life to my face, I

503
00:24:25,400 --> 00:24:26,240
probably punched them.

504
00:24:26,359 --> 00:24:26,880
Speaker 3: Absolutely.

505
00:24:27,559 --> 00:24:27,759
Speaker 4: Yeah.

506
00:24:27,880 --> 00:24:34,359
Speaker 2: No, the facade of anonymity that that we either believe

507
00:24:34,440 --> 00:24:38,920
in or you know, construct is Yeah. It allows that

508
00:24:39,079 --> 00:24:40,240
to happen and encourages that.

509
00:24:40,839 --> 00:24:44,759
Speaker 1: Yeah yeah, time courage, Yeah yeah. And I also hear

510
00:24:44,839 --> 00:24:47,240
people say too, you know, well like you so you

511
00:24:47,880 --> 00:24:51,559
you stepped away from Facebook, absolutely, and from a mental

512
00:24:51,640 --> 00:24:55,759
health perspective, you're probably a lot better off. But at

513
00:24:55,799 --> 00:24:57,400
the same time, it's like, you know, because we were

514
00:24:57,480 --> 00:24:59,480
kind of talking off there about how the you know,

515
00:24:59,599 --> 00:25:02,039
it does, but it does put certain constraints on you

516
00:25:02,119 --> 00:25:03,480
in terms of promoting what you're doing.

517
00:25:03,599 --> 00:25:05,960
Speaker 2: One hundred percent, no question. I'm read I will reach

518
00:25:06,039 --> 00:25:08,559
fewer people because I'm not on Facebook.

519
00:25:08,720 --> 00:25:08,920
Speaker 1: Yeah.

520
00:25:09,759 --> 00:25:12,000
Speaker 2: But in the balance, if you make a list of

521
00:25:12,119 --> 00:25:15,799
the upsides and the downsides, upsides of beating off of

522
00:25:15,839 --> 00:25:18,880
Facebook vastly outweigh the downsides.

523
00:25:18,920 --> 00:25:22,680
Speaker 1: In my yeah, yeah, see, I'm doing this radio show

524
00:25:22,680 --> 00:25:24,720
and everything, there's no way I can oh yeah, you know,

525
00:25:24,920 --> 00:25:28,079
like I'm I'm I'm locked in. But I but I don't,

526
00:25:28,519 --> 00:25:32,400
you know, I don't engage much in terms of you know,

527
00:25:32,599 --> 00:25:34,039
like the way that I use it. You know, I'll

528
00:25:34,079 --> 00:25:37,240
share out things related to the show or promote other

529
00:25:37,359 --> 00:25:39,519
things that I'm doing, and I use it for my

530
00:25:39,640 --> 00:25:42,880
hypnotherapy practice and all this, you know, is to let

531
00:25:42,920 --> 00:25:44,960
people know what I'm doing. But and sometimes I'll I'll

532
00:25:45,160 --> 00:25:47,240
I'll post, especially in the last couple of years, I'll

533
00:25:47,279 --> 00:25:49,720
post things that might be more personal or that I

534
00:25:49,839 --> 00:25:53,119
just think are funny. But when when people start commenting,

535
00:25:53,279 --> 00:25:55,559
if because the thing is too We live in a

536
00:25:55,880 --> 00:26:00,160
in a time when you don't have to be you

537
00:26:00,200 --> 00:26:04,920
don't have to be even remotely. Like I posted something

538
00:26:05,000 --> 00:26:10,680
recently about about getting vaccinated, and you know, i'd gone

539
00:26:10,680 --> 00:26:12,400
to write eight and you know, got my flu shot

540
00:26:12,680 --> 00:26:15,920
COVID booster, and so of course and I just posted

541
00:26:16,000 --> 00:26:18,400
something funny about it. How you know, the pharmacist said,

542
00:26:18,480 --> 00:26:21,240
you know, go sit down and for fifteen minutes, and

543
00:26:21,279 --> 00:26:23,039
then you know, as soon as he's not looking, I

544
00:26:23,119 --> 00:26:25,599
sneak out, you know, because you know, it's not my

545
00:26:25,640 --> 00:26:28,759
first time with it. I know, you know, I am

546
00:26:28,799 --> 00:26:30,160
going to have a side effect, but it's going to

547
00:26:30,200 --> 00:26:32,839
be later when I'm exhausted. But of course, you know,

548
00:26:32,960 --> 00:26:34,599
so I just post something like that because I think

549
00:26:34,640 --> 00:26:38,119
it's funny and of course, you know, anti vaxxers and

550
00:26:38,160 --> 00:26:42,240
everybody's make it a totally political thread. But what I

551
00:26:42,519 --> 00:26:46,880
do is I don't engage because because I just I

552
00:26:47,000 --> 00:26:50,799
don't argue about politics or anything. I just I don't

553
00:26:50,920 --> 00:26:53,559
argue with people on social media. I refuse to. I

554
00:26:53,680 --> 00:26:59,160
find it both just unenduringly just it's it's so tedious

555
00:26:59,440 --> 00:27:04,480
and it's entirely pointless, and and uh so I just

556
00:27:04,680 --> 00:27:09,160
I actually learned to kind of enjoy when that happens,

557
00:27:09,599 --> 00:27:12,400
because people start posting all this mean, angry stuff at

558
00:27:12,440 --> 00:27:14,920
me over what I thought was just a funny post.

559
00:27:15,480 --> 00:27:20,599
But instead of engaging, I actually take pleasure in not engaging,

560
00:27:21,440 --> 00:27:25,640
knowing that it's making them crazy that I'm not engaging

561
00:27:25,880 --> 00:27:28,519
because they want me to argue with them, right, and

562
00:27:28,799 --> 00:27:31,480
uh they want me to fight with them, and I'm

563
00:27:31,519 --> 00:27:34,839
not doing it, and I know it bothers them indeed.

564
00:27:35,000 --> 00:27:37,680
Well yeah, and I actually get a laugh out of

565
00:27:37,799 --> 00:27:40,079
knowing that it bothers you. Yeah.

566
00:27:40,200 --> 00:27:41,759
Speaker 3: No, there's there's a lot to be said for that.

567
00:27:42,039 --> 00:27:45,119
Speaker 2: Yeah, it's just yeah, Emotionally, I just like I said, emotionally,

568
00:27:45,119 --> 00:27:49,880
intellectually just didn't have the bandwidth for it. And again,

569
00:27:49,960 --> 00:27:53,200
it's do I want to give an hour to these

570
00:27:53,480 --> 00:27:56,519
people and Mark Zuckerberg, or do I want to spend

571
00:27:56,559 --> 00:28:00,480
an hour in a meaningful time that you know sar Joy?

572
00:28:00,759 --> 00:28:02,920
Speaker 1: Yeah, yeah, exactly.

573
00:28:03,000 --> 00:28:04,599
Speaker 3: I'll choose my time.

574
00:28:04,880 --> 00:28:09,960
Speaker 1: Yeah, yeah, exactly, choose Joy, choose absolutely absolutely. Come on,

575
00:28:11,240 --> 00:28:12,920
Well now no, so let me ask you this. So,

576
00:28:13,079 --> 00:28:16,599
how how have you Because you know, as we discussed,

577
00:28:16,599 --> 00:28:19,200
I mean you're having some success. You know, Cops on

578
00:28:19,279 --> 00:28:22,079
Acid is catching on, and and you know you're you're

579
00:28:22,400 --> 00:28:26,000
selling your music. What because a lot of a lot

580
00:28:26,000 --> 00:28:27,559
of people in the industry listen to the show, A

581
00:28:27,599 --> 00:28:29,359
lot of a lot of musicians listen to the show.

582
00:28:29,640 --> 00:28:32,240
Like what advice do you have for for anyone who

583
00:28:32,319 --> 00:28:35,039
maybe doesn't want to have to do? You know, you

584
00:28:35,240 --> 00:28:38,079
utilize Facebook? Like how are you what is your approach?

585
00:28:38,160 --> 00:28:38,880
How are you doing this?

586
00:28:40,039 --> 00:28:43,039
Speaker 2: Play as many live shows as you can.

587
00:28:43,319 --> 00:28:43,519
Speaker 1: Yeah.

588
00:28:43,759 --> 00:28:46,319
Speaker 3: Music is all about being heard.

589
00:28:46,599 --> 00:28:49,519
Speaker 2: Yeah, it's you know, it's like that old if tree

590
00:28:49,599 --> 00:28:51,839
falls in the forest and nobody hears it, does it happen?

591
00:28:52,160 --> 00:28:52,279
Speaker 5: Right?

592
00:28:53,079 --> 00:28:53,319
Speaker 3: Well?

593
00:28:53,599 --> 00:28:55,160
Speaker 2: You know, I mean if you write a song and

594
00:28:55,240 --> 00:28:58,359
nobody hears it, did it get written? Go out and

595
00:28:59,000 --> 00:29:03,319
play show, go to open mics, go play wherever you

596
00:29:03,519 --> 00:29:07,640
can you know when I when this project first started

597
00:29:07,680 --> 00:29:10,880
to come together and seemed as if it would have legs,

598
00:29:11,319 --> 00:29:13,559
we couldn't play shows, that there was no place to

599
00:29:13,599 --> 00:29:16,279
physically get a get a gig because the pandemic had

600
00:29:16,319 --> 00:29:19,160
taken care of everything was shut down. So I literally

601
00:29:19,200 --> 00:29:22,200
went out into the streets and played. I started busking.

602
00:29:22,799 --> 00:29:25,039
I would absolutely and I still do it.

603
00:29:25,200 --> 00:29:25,759
Speaker 1: I love it.

604
00:29:26,319 --> 00:29:29,000
Speaker 2: I go as often as I can if I don't

605
00:29:29,039 --> 00:29:30,759
have If I'm in Portland and at home and I

606
00:29:30,839 --> 00:29:33,000
don't have a show on a Friday or Saturday night,

607
00:29:33,279 --> 00:29:35,640
you will typically find me down in the Old Port

608
00:29:35,759 --> 00:29:37,960
between six and nine playing music.

609
00:29:38,559 --> 00:29:39,079
Speaker 3: Absolutely.

610
00:29:39,200 --> 00:29:42,920
Speaker 2: I use what's called an.

611
00:29:41,880 --> 00:29:44,400
Speaker 3: AMP that is a roll in tube street. This thing

612
00:29:44,519 --> 00:29:45,400
runs on batteries.

613
00:29:45,759 --> 00:29:47,319
Speaker 2: It runs on eight double a's and it runs for

614
00:29:47,359 --> 00:29:50,440
six hours on eight double as pushes fifty watts.

615
00:29:50,799 --> 00:29:51,839
Speaker 3: It has three channels.

616
00:29:51,880 --> 00:29:54,119
Speaker 2: I can run my guitar and my vocals and my

617
00:29:54,160 --> 00:29:56,880
little foot drum through it and I will just go

618
00:29:57,079 --> 00:30:02,359
play for three hours. And I've met some amazing musicians

619
00:30:02,480 --> 00:30:06,440
just just doing that, and people will gather around, and

620
00:30:06,880 --> 00:30:08,720
you know, I'll bring a crowd. You know, and that

621
00:30:09,160 --> 00:30:13,640
I love busking because you will know immediately, what works

622
00:30:13,680 --> 00:30:17,200
and what doesn't. You know, if people stop and are listening,

623
00:30:17,799 --> 00:30:20,640
then you're doing something right. If people are walking by,

624
00:30:20,960 --> 00:30:26,079
you know, I mean the thing I'm looking for, reaction.

625
00:30:26,240 --> 00:30:28,960
You know, what works, what doesn't work, what makes people happy,

626
00:30:29,359 --> 00:30:32,680
what pisses people off. The worst thing in my mind

627
00:30:32,759 --> 00:30:37,559
is ambivalence. That's what drives me nuts. Hate being ignored, right,

628
00:30:38,960 --> 00:30:40,960
And maybe that's a personal thing, and I fully cop

629
00:30:41,039 --> 00:30:43,559
to it, you know, call me an attention or whatever. No,

630
00:30:43,640 --> 00:30:47,720
I think, so I don't if you hate it, you know,

631
00:30:48,359 --> 00:30:51,559
but a reaction is what I'm looking for, and busking

632
00:30:51,759 --> 00:30:58,000
provides that immediate feedback. And beyond that, you know, part

633
00:30:58,119 --> 00:31:03,000
of being a music is learning how to perform and

634
00:31:03,119 --> 00:31:05,039
make no mistake. That is a skill set that is

635
00:31:05,160 --> 00:31:08,839
separate and apart from learning your scales and your modes

636
00:31:08,880 --> 00:31:11,920
and how to solo and how to improvise, and that's

637
00:31:12,039 --> 00:31:15,680
there's an element of showmanship that you need to develop.

638
00:31:16,839 --> 00:31:18,960
And the only way to do that is to get

639
00:31:19,000 --> 00:31:21,119
out there on the stage and play in front of people. Right.

640
00:31:21,359 --> 00:31:24,680
And so I'm thankfully I'm fortunate enough at this point

641
00:31:24,759 --> 00:31:27,599
where I'm I'm actually getting a lot of shows indoors

642
00:31:28,000 --> 00:31:30,960
but if I, like I say, if I genuinely love busking,

643
00:31:31,039 --> 00:31:34,160
because I don't have to be there at eight fifteen,

644
00:31:34,279 --> 00:31:36,200
I don't have to load in at eight twenty five.

645
00:31:36,799 --> 00:31:39,240
I don't have to play twenty two minutes. You know,

646
00:31:39,480 --> 00:31:41,599
I don't have to I can play whatever a damn

647
00:31:41,640 --> 00:31:43,480
well please. I can play the same song four times

648
00:31:43,519 --> 00:31:46,319
if I want, you know, and I use that to

649
00:31:46,480 --> 00:31:49,079
go workshoping new material. Okay, and you know some of

650
00:31:49,160 --> 00:31:53,240
these songs that we're playing today have evolved dramatically. Out

651
00:31:53,279 --> 00:31:55,960
there on the pitch is what us buskers call where

652
00:31:56,039 --> 00:31:56,359
we play.

653
00:31:56,519 --> 00:31:58,880
Speaker 1: Okay. I didn't know that I've heard that phrase.

654
00:31:59,200 --> 00:32:02,359
Speaker 2: Okay, okay, and it's uh so I'm uh you know,

655
00:32:03,200 --> 00:32:07,519
if it's warm tonight, I may actually go out because

656
00:32:07,839 --> 00:32:11,440
you know, I have some shows coming up next three weekends.

657
00:32:11,920 --> 00:32:14,720
But I'm actually off tonight, so I may be out

658
00:32:14,759 --> 00:32:15,839
there in Portland.

659
00:32:16,240 --> 00:32:18,319
Speaker 1: I'm just curious, do you need any kind of a

660
00:32:18,400 --> 00:32:20,119
permit or anything, or do they just let you do

661
00:32:20,240 --> 00:32:22,759
it or you know, you're.

662
00:32:23,400 --> 00:32:27,079
Speaker 2: My understanding is that you're supposed to have some sort

663
00:32:27,119 --> 00:32:30,880
of permit if you're amplified, and I often am amplified.

664
00:32:31,559 --> 00:32:36,240
That said, I've never had somebody stop me and ask

665
00:32:36,359 --> 00:32:38,720
me for that permit. And I'm Dan in the old

666
00:32:38,799 --> 00:32:41,160
Port where you know, on a Friday or Saturday night,

667
00:32:41,240 --> 00:32:44,799
where there is a police presence, and those officers down

668
00:32:44,839 --> 00:32:48,319
there have actually come to know me because I'm there frequently,

669
00:32:48,880 --> 00:32:52,799
and like what I do they know? I mean, I'm

670
00:32:52,839 --> 00:32:57,839
a sort of a known commodity and I've so I

671
00:32:58,039 --> 00:33:00,519
haven't had that problem yet. That said, I've heard from

672
00:33:00,559 --> 00:33:05,759
some other buskers in Portland that they've had some some

673
00:33:05,960 --> 00:33:08,039
run ins. Yeah, some uh, you know, some of the

674
00:33:08,119 --> 00:33:12,720
compliance staff. But every town is different. Like in in

675
00:33:13,039 --> 00:33:15,599
Boston you don't need a permit across the river and

676
00:33:15,640 --> 00:33:19,599
Cambridge you do. Yeah, oh yeah absolutely, so really, I mean,

677
00:33:19,640 --> 00:33:22,079
if it's something that you're want, if you're a musician,

678
00:33:22,200 --> 00:33:25,559
is something you want to try, hey do it absolutely

679
00:33:25,720 --> 00:33:29,160
because it's just fantastic experience. It's it's so much fun.

680
00:33:30,440 --> 00:33:32,519
But look, check into it, you know, make some calls,

681
00:33:32,599 --> 00:33:34,200
do the research, sure, figure it out.

682
00:33:34,359 --> 00:33:37,200
Speaker 1: Sure. And you know, I don't even know what the

683
00:33:37,519 --> 00:33:39,759
I don't know what the laws are on that or

684
00:33:40,559 --> 00:33:41,839
rules are here in Manchester.

685
00:33:42,079 --> 00:33:43,559
Speaker 2: You know, it's funny you say that to you, because

686
00:33:43,599 --> 00:33:45,680
I was coming in this morning, and coming over the

687
00:33:45,720 --> 00:33:46,119
bridge and.

688
00:33:46,319 --> 00:33:47,559
Speaker 3: It's like, wow, I bet I could.

689
00:33:48,200 --> 00:33:48,400
Speaker 1: Yeah.

690
00:33:48,559 --> 00:33:50,240
Speaker 2: It's like whenever I come into a town, that's my

691
00:33:50,279 --> 00:33:52,640
first thing. It's like, there's a pitch where where would

692
00:33:52,640 --> 00:33:53,240
be the best pitch?

693
00:33:53,440 --> 00:33:56,200
Speaker 1: Yeah, because I see them on Elm Street, but not much,

694
00:33:57,000 --> 00:33:58,480
not as much as I used to. It seems like,

695
00:33:58,640 --> 00:34:00,319
so I don't know, I have no idea what the

696
00:34:00,480 --> 00:34:04,160
what the rule is? But uh, was that when you

697
00:34:04,319 --> 00:34:05,839
first started doing that?

698
00:34:06,240 --> 00:34:06,359
Speaker 2: Was it?

699
00:34:07,079 --> 00:34:07,119
Speaker 5: Was?

700
00:34:07,200 --> 00:34:11,559
Speaker 1: It intimidating at first, but you.

701
00:34:11,679 --> 00:34:14,280
Speaker 2: Have to you know, there's a couple of things going on.

702
00:34:14,519 --> 00:34:15,880
I'm at the point in my life now where i

703
00:34:15,960 --> 00:34:18,159
just don't care what people think anymore.

704
00:34:18,280 --> 00:34:19,199
Speaker 3: I'm just beyond that.

705
00:34:19,800 --> 00:34:20,679
Speaker 2: You know, I really don't.

706
00:34:21,119 --> 00:34:23,880
Speaker 1: And that's one of the few good things about getting older.

707
00:34:24,159 --> 00:34:26,679
It's a short list, but as you get older, you

708
00:34:26,840 --> 00:34:30,159
just naturally become less self conscious. It's more like, you know,

709
00:34:30,440 --> 00:34:31,519
who cares what people think?

710
00:34:31,679 --> 00:34:34,480
Speaker 3: Exactly? Beyond that it's.

711
00:34:35,840 --> 00:34:39,320
Speaker 2: People you're not you're not hurting anybody, you know, you know,

712
00:34:40,800 --> 00:34:43,480
just people can ignore it if they want, right, you know, right,

713
00:34:43,679 --> 00:34:46,599
So it's it's as long as you're not blocking the sidewalk.

714
00:34:46,679 --> 00:34:48,440
That seems to be the you know, you don't want

715
00:34:48,480 --> 00:34:51,960
to cause anybody any problems. But if you're just out

716
00:34:52,000 --> 00:34:55,920
there doing your thing, you know. Yeah, now, man, I'm

717
00:34:55,920 --> 00:34:56,159
a ham.

718
00:34:57,199 --> 00:35:00,719
Speaker 3: Yeah, you got to work to show me up now.

719
00:35:02,440 --> 00:35:04,639
Speaker 1: In the uh you know what about in the winter,

720
00:35:04,840 --> 00:35:06,719
do you? I mean, is there anywhere where you can

721
00:35:06,800 --> 00:35:08,719
do that indoors, like in a mall.

722
00:35:08,599 --> 00:35:10,800
Speaker 2: Or well you know, it's it's it's it's it's funny.

723
00:35:11,000 --> 00:35:14,800
I don't know about the mall, but like last winter. Uh,

724
00:35:14,920 --> 00:35:17,840
there's a there's a pub in Portland called bram Hall

725
00:35:18,119 --> 00:35:21,559
which is on Congress Street and I just walked in

726
00:35:21,679 --> 00:35:25,360
there one night and guy behind the bar had to

727
00:35:25,400 --> 00:35:26,719
be the manager. I said, hey, how about you just

728
00:35:26,800 --> 00:35:29,239
let me play here every Thursday night? And he's like,

729
00:35:29,320 --> 00:35:31,639
what do you mean? And I said, well, here's what

730
00:35:31,880 --> 00:35:33,960
I explained to him. You know that bost and what's

731
00:35:34,000 --> 00:35:34,280
going on?

732
00:35:34,440 --> 00:35:35,840
Speaker 3: I said, getting too cold?

733
00:35:36,039 --> 00:35:38,360
Speaker 2: And your place to play? Yeah, I said, you know,

734
00:35:38,559 --> 00:35:40,880
to pay me and there's no amplifications, just me and

735
00:35:41,000 --> 00:35:44,840
my acoustic guitar and my drum. So there's no laws

736
00:35:44,920 --> 00:35:47,840
about entertainment, there's no permits or anything like that. How

737
00:35:47,840 --> 00:35:49,519
about you just let me roll in here with my

738
00:35:49,639 --> 00:35:52,960
tip Jart Thursday night. Yeah, on Thursday nights and play

739
00:35:53,199 --> 00:35:56,360
and if people are digging it, fantastic. If they're not,

740
00:35:57,159 --> 00:36:01,639
I'll move along and he's like all right, And I

741
00:36:01,760 --> 00:36:02,800
did that for six months.

742
00:36:03,840 --> 00:36:06,239
Speaker 3: It actually turned out really really and.

743
00:36:06,280 --> 00:36:08,440
Speaker 2: It got to be a thing. I mean, if people

744
00:36:08,559 --> 00:36:11,079
start to hear about this, if you're any good, I mean,

745
00:36:11,119 --> 00:36:14,119
that's why I encourage people to play live. If you're

746
00:36:14,199 --> 00:36:19,320
any good, you will find traction because people like live music.

747
00:36:21,840 --> 00:36:24,639
Maybe not so much, you know, because but I was

748
00:36:24,760 --> 00:36:27,519
fortunate enough that people would would come around and people

749
00:36:27,519 --> 00:36:30,440
would come back. There were regulars. They'd come in, you know,

750
00:36:30,559 --> 00:36:33,000
because they knew what was going on, and they people

751
00:36:33,159 --> 00:36:35,880
like live music. So I would start to have friends

752
00:36:36,119 --> 00:36:39,280
come by and you know, people other other musicians that

753
00:36:39,360 --> 00:36:42,119
I know from around town sit in, do a couple

754
00:36:42,159 --> 00:36:45,000
of tunes. You know. It got to become a thing

755
00:36:45,079 --> 00:36:47,519
and it was actually pretty cool. And then the places

756
00:36:47,639 --> 00:36:50,800
changed ownership and the new manager came in, it just

757
00:36:50,880 --> 00:36:53,519
the vibe wasn't the same, and I was like, yeah, okay,

758
00:36:53,599 --> 00:36:54,559
this was played.

759
00:36:54,480 --> 00:36:58,280
Speaker 1: So yeah we moved on. Yeah, But I mean I

760
00:36:58,360 --> 00:37:00,400
think the broader point, though it sounds like they you're making,

761
00:37:00,599 --> 00:37:02,559
is it's it's so important to build a relationship.

762
00:37:02,599 --> 00:37:05,800
Speaker 3: Absolutely, and uh that's the currency, you know, so you you.

763
00:37:05,880 --> 00:37:09,960
Speaker 1: Can get around Facebook, oh yeah, you know, or other forms.

764
00:37:09,639 --> 00:37:14,519
Speaker 2: Of uh, but play live and when if you're a

765
00:37:14,679 --> 00:37:17,360
young musician or a musician who's young in your career

766
00:37:17,400 --> 00:37:20,480
and you're just starting out, play as many shows as

767
00:37:20,480 --> 00:37:24,039
you can and stay for the other bands. Yeah, listen

768
00:37:24,119 --> 00:37:26,840
to those other bands and talk with those other bands

769
00:37:27,079 --> 00:37:33,440
and create and nurture those relationships, because that's how you

770
00:37:34,199 --> 00:37:37,679
find your audience, and that's how you develop your audience,

771
00:37:37,679 --> 00:37:39,880
and that's how you grow your audience. I mean, you

772
00:37:39,960 --> 00:37:43,119
can have ten thousand followers on Instagram, but if you

773
00:37:43,199 --> 00:37:46,480
can't put twelve people into a club that any does

774
00:37:46,519 --> 00:37:47,119
that have any meaning?

775
00:37:47,519 --> 00:37:48,480
Speaker 3: Does that any value?

776
00:37:48,719 --> 00:37:48,920
Speaker 1: Yeah?

777
00:37:49,360 --> 00:37:50,000
Speaker 3: What are you know?

778
00:37:50,239 --> 00:37:50,400
Speaker 1: Good?

779
00:37:50,760 --> 00:37:50,920
Speaker 4: Yeah?

780
00:37:51,000 --> 00:37:53,400
Speaker 1: No, that's a great point and an important one because

781
00:37:53,400 --> 00:37:55,199
of the club or the bar or the venue. You know,

782
00:37:55,280 --> 00:37:59,199
they the promoter, they don't it's you know, they're impressed

783
00:37:59,519 --> 00:38:03,159
if you have a lot of Instagram followers, but what

784
00:38:03,320 --> 00:38:05,239
they really care about is how many of them are

785
00:38:05,280 --> 00:38:05,920
going to show.

786
00:38:05,800 --> 00:38:06,840
Speaker 3: Up exactly exactly.

787
00:38:06,960 --> 00:38:12,079
Speaker 2: Yeah. Yeah, So now you know it's getting to be

788
00:38:12,280 --> 00:38:14,039
I'm looking around and again I'm thinking okay, well, maybe

789
00:38:14,079 --> 00:38:17,079
I need to find another bram Hale because it's getting colder.

790
00:38:17,199 --> 00:38:20,840
And that said, I also just need to take some time.

791
00:38:20,840 --> 00:38:23,719
I've been playing so many shows and touring and I think,

792
00:38:23,760 --> 00:38:25,800
you know, this past summer I played probably seventy.

793
00:38:25,559 --> 00:38:29,960
Speaker 3: Five eighty shows, no kidding, Wow, it was, which is fantastic.

794
00:38:30,079 --> 00:38:30,559
I love it.

795
00:38:30,800 --> 00:38:33,079
Speaker 2: Yeah, I'm not complaining of what I'm saying is I

796
00:38:33,159 --> 00:38:36,559
have about twelve to fifteen songs. Have a disturbing amount

797
00:38:36,559 --> 00:38:39,280
of songs that are half done. Okay, I really just

798
00:38:39,440 --> 00:38:42,480
need to finish, you know, So maybe I take six

799
00:38:42,639 --> 00:38:45,119
or eight weeks and just take it down a notch

800
00:38:45,599 --> 00:38:46,719
and finish those songs.

801
00:38:47,599 --> 00:38:50,000
Speaker 1: You know, And when you play live, is it always

802
00:38:50,119 --> 00:38:52,199
just you? Do you ever have guest musicians or I.

803
00:38:52,320 --> 00:38:55,280
Speaker 2: You know, I do. I will play with I look

804
00:38:55,320 --> 00:38:57,679
at the show and what the venue is and who

805
00:38:57,719 --> 00:39:01,920
I'm playing with and pull together. If it's a tour,

806
00:39:02,079 --> 00:39:05,400
it's probably gonna be me solo because the cost musically

807
00:39:05,519 --> 00:39:08,079
these days, and you know, the business of the music

808
00:39:08,119 --> 00:39:13,320
business is so fundamentally broken now that a touring band

809
00:39:13,800 --> 00:39:16,559
is very difficult to pull off. Oh yeah, I mean

810
00:39:16,639 --> 00:39:19,239
you're gonna a They're gonna low ball you on the gate.

811
00:39:19,280 --> 00:39:21,480
You're not gonna get if you get paid, they're gonna

812
00:39:21,480 --> 00:39:23,199
take a cutting and merchet, you know.

813
00:39:23,320 --> 00:39:26,480
Speaker 3: I mean, there's just you. You can't do it.

814
00:39:26,840 --> 00:39:30,320
Speaker 2: It's it's very difficult. So off, when I go on tour,

815
00:39:30,360 --> 00:39:34,840
I'm solo. When I'm playing locally or you know, regionally,

816
00:39:35,199 --> 00:39:38,079
I will pull together a band.

817
00:39:38,440 --> 00:39:38,559
Speaker 5: You know.

818
00:39:38,639 --> 00:39:40,719
Speaker 2: I played a show at Genos the other night with

819
00:39:40,880 --> 00:39:43,280
the band called Euphemia, who, for my money, is the

820
00:39:43,320 --> 00:39:44,599
best local band in Portland right now.

821
00:39:44,639 --> 00:39:45,920
Speaker 3: These guys are fantastic.

822
00:39:46,239 --> 00:39:50,320
Speaker 2: They'll oh God, their new record self released. It was

823
00:39:50,599 --> 00:39:53,719
It's been the number one local record at Bull Moose

824
00:39:53,800 --> 00:39:54,960
now for a long time.

825
00:39:55,960 --> 00:39:57,280
Speaker 3: These guys are amazing.

826
00:39:57,559 --> 00:40:00,960
Speaker 2: Okay, So I open for them at Genos and I

827
00:40:01,079 --> 00:40:02,840
pulled together the punk rock trio for that.

828
00:40:03,000 --> 00:40:03,159
Speaker 4: You know.

829
00:40:03,199 --> 00:40:05,599
Speaker 2: I had Dan Capaldi played drums, and a guy named

830
00:40:05,639 --> 00:40:08,840
Mike Berkowitz who plays bass with a couple of jazz

831
00:40:08,920 --> 00:40:12,239
bands around town, sat in on bass, and you know,

832
00:40:12,400 --> 00:40:16,159
and we just ripped it for half an hour, man

833
00:40:16,559 --> 00:40:19,480
together a thirty minute set that you know, when I

834
00:40:19,559 --> 00:40:21,360
go bust now I have I'll play for three or

835
00:40:21,400 --> 00:40:24,000
four hours at a time. I mean, I know, one

836
00:40:24,079 --> 00:40:26,559
hundred songs. Yeah, you know, a bunch of covers and

837
00:40:26,599 --> 00:40:29,159
a bunch of my stuff, and I'll weave that together

838
00:40:29,280 --> 00:40:31,079
and sort of pull a set together in the moment

839
00:40:31,159 --> 00:40:32,039
based on what's working.

840
00:40:32,119 --> 00:40:33,000
Speaker 3: You sort of read the room.

841
00:40:33,159 --> 00:40:36,039
Speaker 2: Yes, but when I do a club gig, it's thirty

842
00:40:36,079 --> 00:40:40,960
minutes of unrestrained mayhem because I know what works, because

843
00:40:41,000 --> 00:40:43,760
I've put that time in and I've road tested this material,

844
00:40:44,199 --> 00:40:47,239
and I can put together a set list that will

845
00:40:47,559 --> 00:40:52,400
it's contoured, that is just relentless and it rips. And

846
00:40:52,559 --> 00:40:55,119
that's what we did and hell of a show. Yeah,

847
00:40:56,480 --> 00:40:58,280
I really enjoy those kind of gigs. There's a lot

848
00:40:58,320 --> 00:41:01,159
to be said for those, you know, busking aside this.

849
00:41:01,559 --> 00:41:04,599
You know, coming in and doing a set like that,

850
00:41:04,920 --> 00:41:07,719
that's that powerful and you know at the end of it,

851
00:41:07,800 --> 00:41:08,760
people were just cheering.

852
00:41:09,039 --> 00:41:11,519
Speaker 3: Yeah, I mean because I do.

853
00:41:11,639 --> 00:41:14,360
Speaker 2: Have that element of showmanship that you know, I'm I

854
00:41:14,559 --> 00:41:16,840
enjoy that. That's part of being on stage. Yes, it's

855
00:41:16,920 --> 00:41:19,559
got to be you know, you have to leave leave

856
00:41:19,599 --> 00:41:20,320
it all out there, man.

857
00:41:20,559 --> 00:41:20,760
Speaker 1: Yeah.

858
00:41:20,840 --> 00:41:23,639
Speaker 2: You know, these people are paying good money for a show.

859
00:41:24,119 --> 00:41:26,159
I'm gonna make sure they get what they came for. Yeah,

860
00:41:26,280 --> 00:41:29,480
you know, speaking and paying good money. I mean, you know,

861
00:41:30,840 --> 00:41:34,079
I went to a club the other night. I couldn't

862
00:41:34,280 --> 00:41:36,480
twenty dollars cover charge. Yeah, that was just to get

863
00:41:36,519 --> 00:41:39,400
into the door twenty bucks in Portland. Yeah yeah, and

864
00:41:39,519 --> 00:41:41,960
that's it was worth it because there were five bands

865
00:41:42,000 --> 00:41:44,639
on the bill. But that's a lot of dope sure

866
00:41:44,800 --> 00:41:47,239
coming in, you know. But yeah, this is where we are,

867
00:41:47,480 --> 00:41:49,840
yeah these days. Yeah, absolutely, yeah.

868
00:41:49,880 --> 00:41:53,280
Speaker 1: I mean there's there's major touring acts that have canceled yeah,

869
00:41:53,280 --> 00:41:55,800
oh yeah, canceled tours because they can't afford to do it,

870
00:41:57,199 --> 00:41:59,880
you know. And Live Nation has things.

871
00:42:00,679 --> 00:42:04,800
Speaker 2: Their predatory Live Nation I just have Yeah, we've we've.

872
00:42:04,639 --> 00:42:08,840
Speaker 1: Talked about that a lot on the show. Yeah. Absolutely.

873
00:42:08,960 --> 00:42:14,079
I think they're getting sued again. Good yeah, no kidding,

874
00:42:14,199 --> 00:42:19,400
uh yeah no, these these monopolies. Let's play another track.

875
00:42:19,280 --> 00:42:21,920
Speaker 2: Yeah yeah, let's play one off what I call the

876
00:42:22,000 --> 00:42:25,360
Mayhem Mix, which is so for there's an interesting story

877
00:42:25,440 --> 00:42:27,639
behind these these So I took the songs are on

878
00:42:27,719 --> 00:42:29,599
this record, and I gave him to a friend of

879
00:42:29,639 --> 00:42:32,280
mine named Chuck Gonzalez out in San Francisco, who was

880
00:42:32,360 --> 00:42:38,199
again another very talented engineer, and I said, Chuck, go nuts.

881
00:42:38,559 --> 00:42:39,679
Speaker 1: Yeah, just play with it.

882
00:42:39,840 --> 00:42:43,880
Speaker 2: Have fun. And his sound and his approach is very

883
00:42:44,000 --> 00:42:46,559
different than Dance who did the initial mix. So he

884
00:42:46,679 --> 00:42:49,599
gave it this sort of psychedelic edge. Yeah, and uh,

885
00:42:50,320 --> 00:42:52,039
you know, for for example, there's a guy named New

886
00:42:52,119 --> 00:42:54,880
York Mike who's a DJ on WMPG and he plays

887
00:42:54,880 --> 00:42:58,599
the Psychedelic show. Yeah, and he didn't like that Monico mix.

888
00:42:58,679 --> 00:43:02,920
But oh hell of of the Mayhem. Oh okay, so okay,

889
00:43:03,000 --> 00:43:04,960
you know it does have a very different feel. Yeah,

890
00:43:05,920 --> 00:43:09,559
which track, Well, let's play you know what, play play

891
00:43:09,599 --> 00:43:12,760
this this the Cops may the Mayhem mix the Cops.

892
00:43:12,960 --> 00:43:15,440
Speaker 3: Okay, because that's the It's got a whole different vibe

893
00:43:15,480 --> 00:43:15,679
to it.

894
00:43:16,559 --> 00:43:18,360
Speaker 1: Yeah, you're at you know, it's funny too. That's the

895
00:43:18,360 --> 00:43:20,039
first one I listened to when I listened to the

896
00:43:20,320 --> 00:43:22,760
tracks that you sent me was was that mix of

897
00:43:23,320 --> 00:43:26,079
Cops on Acid? Yeah? All right, check this out. This

898
00:43:26,239 --> 00:43:29,920
is the Mayhem mix of Cops on Acid. And this

899
00:43:30,320 --> 00:44:02,400
is a plague Dad, Dad, I.

900
00:44:02,639 --> 00:44:09,559
Speaker 2: Woman know what this man said?

901
00:44:11,760 --> 00:44:21,760
Speaker 5: He said, cockball last, come said come ball man last.

902
00:44:41,440 --> 00:44:42,199
Speaker 2: Talk comedy.

903
00:44:45,679 --> 00:44:52,199
Speaker 5: He was listening dude bream did said, hey man, what

904
00:44:52,440 --> 00:44:58,039
showed that? He said, show my hands? Then shot my dogue.

905
00:45:21,039 --> 00:45:25,039
Speaker 1: That is the Mayhem mix of Cops on Acid by

906
00:45:25,280 --> 00:45:28,519
Plague Dad, mister Frank Gallagher here with us alive in studio.

907
00:45:28,719 --> 00:45:32,519
No dogs were harmed in the in the actual one, yes, yes,

908
00:45:32,840 --> 00:45:36,639
but uh no that is that is very cool, Frank.

909
00:45:36,719 --> 00:45:38,440
This has been wonderful. Thank you so much for joining

910
00:45:38,559 --> 00:45:39,400
us this morning, pleasure.

911
00:45:39,639 --> 00:45:43,480
Speaker 2: Thank you so much for having me. I really enjoy radio.

912
00:45:44,800 --> 00:45:47,599
It's a medium that I keep turning back to because,

913
00:45:48,639 --> 00:45:51,039
particularly community stations and college stations.

914
00:45:51,679 --> 00:45:56,199
Speaker 3: I like to hear what the DJs you have to

915
00:45:56,280 --> 00:45:57,639
say and what they what they play.

916
00:45:57,679 --> 00:46:01,079
Speaker 2: I mean, the algorithm is fine, but I I have

917
00:46:01,239 --> 00:46:04,159
heard so much and been turned on to so much

918
00:46:04,280 --> 00:46:07,519
cool new music by listening to college DJ as a

919
00:46:07,559 --> 00:46:08,760
community station yew days.

920
00:46:09,199 --> 00:46:11,280
Speaker 3: That's it's unbeatable.

921
00:46:11,840 --> 00:46:16,519
Speaker 1: I'll mention this briefly. My father who listens to the show,

922
00:46:16,559 --> 00:46:19,079
Hi dad, if you're listening. So he lives on the

923
00:46:19,119 --> 00:46:21,880
sea coast here in New Hampshire, and he's in his seventies.

924
00:46:21,920 --> 00:46:24,320
And I only mentioned that because you know, most people geez,

925
00:46:24,320 --> 00:46:25,559
I don't know by the time they get to be

926
00:46:25,639 --> 00:46:28,280
thirty or forty, they kind of just say, okay, I've

927
00:46:28,320 --> 00:46:30,320
heard all the music I'm ever interested in and I'm

928
00:46:30,320 --> 00:46:32,360
not going to like anything that I anything new that

929
00:46:32,400 --> 00:46:33,480
I hear from this point forward.

930
00:46:33,599 --> 00:46:33,679
Speaker 4: Right.

931
00:46:34,320 --> 00:46:37,000
Speaker 1: My dad is the opposite of that. He still loves

932
00:46:37,480 --> 00:46:40,599
new music. He's always been like that. Like you'd never like,

933
00:46:40,639 --> 00:46:42,039
if you got into a car with my dad, you're

934
00:46:42,039 --> 00:46:43,760
not going to hear the oldiest station coming out of

935
00:46:43,800 --> 00:46:46,119
the stereo, right right. And he so he lives on

936
00:46:46,199 --> 00:46:48,800
the Sea coast and he loves listening to wunh oh

937
00:46:48,920 --> 00:46:51,880
fantastic because he loves hearing new music and he loves

938
00:46:51,960 --> 00:46:52,639
college radio.

939
00:46:53,000 --> 00:46:53,800
Speaker 3: No, no, it's great.

940
00:46:53,960 --> 00:46:54,719
Speaker 1: Yeah it really is.

941
00:46:55,079 --> 00:46:58,000
Speaker 2: And you know to that, and yes, I do this,

942
00:46:58,360 --> 00:47:00,760
play dad. But I also run alay little blog in

943
00:47:00,880 --> 00:47:04,679
town called that Portland Sound. Oh really, where I try

944
00:47:04,760 --> 00:47:08,079
to bring some attention to bands that I like. Yeah,

945
00:47:08,159 --> 00:47:11,000
so I'll just write up little pieces about bands I

946
00:47:11,159 --> 00:47:13,679
like and I'll put that out there. Oh and you know,

947
00:47:13,880 --> 00:47:16,000
I was a reporter for a long time, so I write, oh,

948
00:47:16,039 --> 00:47:18,679
I totally want to read this. Yeah, yeah, it's you know,

949
00:47:18,800 --> 00:47:22,559
I updated infrequently. I'm thinking I really need to start

950
00:47:22,639 --> 00:47:25,079
making that more of a regular thing. And I'm actually

951
00:47:25,159 --> 00:47:27,760
toying with the idea of making it a print thing.

952
00:47:27,920 --> 00:47:31,159
You know, really remember the old school with zines. I'm

953
00:47:31,199 --> 00:47:32,440
going to make this into a zine.

954
00:47:32,519 --> 00:47:34,960
Speaker 1: We have a here, we have a paper jam magazine. Yeah,

955
00:47:34,960 --> 00:47:35,960
we've had them on the show.

956
00:47:36,199 --> 00:47:38,440
Speaker 2: Yeah, yeah, I'm going to do that with this. There

957
00:47:38,519 --> 00:47:39,880
is a market for it, and I'm gonna you know,

958
00:47:40,360 --> 00:47:42,800
I've started, I've costed it out. I'm going to print

959
00:47:42,920 --> 00:47:46,039
up two hundred and fifty copies, probably twenty four pages,

960
00:47:46,519 --> 00:47:49,760
and I'm going to put together a compilation CD and

961
00:47:49,920 --> 00:47:51,280
just glue it into.

962
00:47:51,119 --> 00:47:54,199
Speaker 3: The back page awesome, and just drop it around town.

963
00:47:54,440 --> 00:47:56,760
Speaker 2: Yeah. You know so though, like you'll find ten copies

964
00:47:56,800 --> 00:48:00,000
in a cafe, you'll find ten copies of Geno's. You'll

965
00:48:00,079 --> 00:48:02,679
find ten copies a Hi fi in in in Portland,

966
00:48:02,719 --> 00:48:04,760
which is one of my other favorite venues. That place

967
00:48:04,840 --> 00:48:05,360
is fantastic.

968
00:48:05,400 --> 00:48:06,840
Speaker 1: Oh I love it. That's so yeah.

969
00:48:06,840 --> 00:48:08,920
Speaker 2: I'm gonna start doing that as well.

970
00:48:09,079 --> 00:48:12,760
Speaker 1: Fantastic, fantastic. And of course the website is Plague dot

971
00:48:12,840 --> 00:48:14,079
dad bleg dot dad.

972
00:48:14,280 --> 00:48:16,920
Speaker 2: Dad, and I'm on band camp as well if you want,

973
00:48:16,960 --> 00:48:18,519
you know, and you can buy the records there. I

974
00:48:18,559 --> 00:48:21,239
have other merch I have T shirts and bandanas. A

975
00:48:21,320 --> 00:48:23,039
lot of stuff is sold out, which is crazy.

976
00:48:23,119 --> 00:48:27,440
Speaker 3: I gotta. I gotta up my awesome totally.

977
00:48:27,480 --> 00:48:30,480
Speaker 1: Oh I love your music because it makes me smile.

978
00:48:30,920 --> 00:48:33,400
Speaker 2: Well, that's great, fantastic, that's one of the best things

979
00:48:33,440 --> 00:48:34,800
that anybody has ever said to me.

980
00:48:34,960 --> 00:48:38,039
Speaker 1: And and for those watching online too, let me hold

981
00:48:38,079 --> 00:48:41,079
this up again, the seven inch final. I love this artwork.

982
00:48:41,400 --> 00:48:43,440
You can see that. Yeah, the artwork is very very.

983
00:48:43,360 --> 00:48:45,880
Speaker 2: That's like I said, Paul court John is the artist there.

984
00:48:46,239 --> 00:48:46,960
Speaker 3: You like his stuff.

985
00:48:47,000 --> 00:48:49,400
Speaker 2: He's gotta. He's just got a crazy amount of independent

986
00:48:49,440 --> 00:48:50,440
comics that he produces.

987
00:48:50,880 --> 00:48:52,719
Speaker 1: And you're playing You've got shows this week?

988
00:48:52,920 --> 00:48:55,679
Speaker 2: Yeah, yeah, we're playing with The next one is in Ellsworth.

989
00:48:56,000 --> 00:48:58,119
So there's a new place in Ellsworth called the Black

990
00:48:58,519 --> 00:49:01,719
Moon Public House. And this is my new favorite place

991
00:49:01,800 --> 00:49:04,360
in Maine because it is a pub and it's a

992
00:49:04,440 --> 00:49:08,639
record store together you can like go in and and

993
00:49:08,840 --> 00:49:11,599
they're having live shows there. So I was there, you know,

994
00:49:11,760 --> 00:49:13,480
back earlier this summer and at the place had a

995
00:49:13,639 --> 00:49:16,280
soft opening and I walked in and I saw that

996
00:49:16,360 --> 00:49:20,039
they looked around. I found Steve, Steve Pierce, the Empressario,

997
00:49:20,840 --> 00:49:22,199
and I said, hey, do you ever do any in

998
00:49:22,320 --> 00:49:26,840
stores here? He's like, yeah, sure. So I just started

999
00:49:26,880 --> 00:49:30,400
playing there and so I've played there a couple three

1000
00:49:30,480 --> 00:49:33,639
times now, but now he trusts me a little bit.

1001
00:49:33,679 --> 00:49:36,760
Speaker 3: I don't know, you know, whether better or for worse.

1002
00:49:37,199 --> 00:49:40,119
Speaker 2: So this weekend, Saturday, November second, I'm bringing up a

1003
00:49:40,159 --> 00:49:42,519
couple of friends of mine from Portland and we're gonna

1004
00:49:42,760 --> 00:49:45,559
just Portland comes to Ellsworth, So Plague Dad will be

1005
00:49:45,679 --> 00:49:50,039
there crying. Caleb is going to be there, and a

1006
00:49:50,159 --> 00:49:53,559
gentleman named Fine Pioneer Okay, and he's got a new

1007
00:49:53,599 --> 00:49:56,239
single out that's just amazing as well. It's called both

1008
00:49:56,280 --> 00:49:59,320
Sides of Sleepy and it's a fantastic song. So we're

1009
00:49:59,320 --> 00:50:01,079
gonna take that show on the road. We're gonna go

1010
00:50:01,159 --> 00:50:02,880
up to Ellsworth on the second and we're gonna play

1011
00:50:02,960 --> 00:50:06,519
that Okay. And there's a couple in uh in Scout Hegan,

1012
00:50:06,719 --> 00:50:09,480
there's some there's there's some young people that are organizing

1013
00:50:09,800 --> 00:50:12,639
shows there now, house parties and other venues. So that

1014
00:50:12,880 --> 00:50:14,360
they they reached out to me and asked me if

1015
00:50:14,400 --> 00:50:15,480
I come up play a couple there.

1016
00:50:15,480 --> 00:50:17,440
Speaker 3: I said, of course, I will, absolutely yeah.

1017
00:50:17,639 --> 00:50:21,519
Speaker 2: And then the Spring Point Tavern in South Portland's Okay,

1018
00:50:21,679 --> 00:50:24,760
is right across the street from uh SMCC from Southern

1019
00:50:24,800 --> 00:50:29,159
Main Community College. They're doing live music now and cryon.

1020
00:50:29,280 --> 00:50:31,480
Caleb got a show there and he asked me if

1021
00:50:31,480 --> 00:50:32,599
I would play that show with him.

1022
00:50:32,760 --> 00:50:33,760
Speaker 3: He said, hell yeah, of course.

1023
00:50:34,199 --> 00:50:36,559
Speaker 2: Yeah, So we're playing there on I want to say

1024
00:50:36,639 --> 00:50:39,440
the ninth. These are all on my website, plague dot Dad.

1025
00:50:39,480 --> 00:50:41,199
Speaker 3: I put every show, every.

1026
00:50:41,119 --> 00:50:43,039
Speaker 2: This is on, this is on there, you know, and

1027
00:50:43,079 --> 00:50:44,800
there's a mailing list if you want to stay up

1028
00:50:44,840 --> 00:50:47,280
with things. I promise I won't spam yet, but uh,

1029
00:50:47,719 --> 00:50:50,199
you know, there's a lot of really cool stuff going on.

1030
00:50:50,440 --> 00:50:56,119
Speaker 1: And drop a line outstanding. Well, thank you again, plague Dad.

1031
00:50:56,199 --> 00:50:58,800
This has been amazing. What should we close with. I'll

1032
00:50:58,880 --> 00:50:59,280
let you pick.

1033
00:50:59,400 --> 00:51:01,639
Speaker 2: Oh, let's play let's play the one tune we haven't

1034
00:51:01,639 --> 00:51:03,960
played yet, which is what ran us off. Right. There's

1035
00:51:04,000 --> 00:51:06,159
actually a video for this on YouTube as well.

1036
00:51:06,360 --> 00:51:08,119
Speaker 1: Ran us off. I don't see that one.

1037
00:51:08,199 --> 00:51:09,920
Speaker 3: That's the I don't have the record for me. I

1038
00:51:09,960 --> 00:51:10,440
can't remember.

1039
00:51:10,440 --> 00:51:13,119
Speaker 1: I've got I've gotten there just as well, just as well.

1040
00:51:13,519 --> 00:51:14,960
Speaker 2: No, that's not that's not the right.

1041
00:51:15,480 --> 00:51:16,760
Speaker 1: Oh that's one of the ones you sent me.

1042
00:51:16,960 --> 00:51:18,440
Speaker 2: Yeah, yeah, you know what, play that. Go ahead and

1043
00:51:18,480 --> 00:51:19,679
play that. That's a great little tune.

1044
00:51:19,719 --> 00:51:21,480
Speaker 1: Okay, Yeah, I like that one. Yeah, it's more of

1045
00:51:21,519 --> 00:51:24,719
a country. So we'll give okay, yeah, we'll give this

1046
00:51:24,840 --> 00:51:28,480
a spin. And then if you are listening live on Saturday,

1047
00:51:29,119 --> 00:51:31,039
of course, coming up in the second hour, in just

1048
00:51:31,159 --> 00:51:34,360
a couple of minutes, we've got October Sun's uh Dave

1049
00:51:34,440 --> 00:51:36,480
Wally is here in the building, and I think he's

1050
00:51:36,519 --> 00:51:39,519
got how many is it just uh Dave and Chris

1051
00:51:39,679 --> 00:51:41,119
or is four people?

1052
00:51:41,400 --> 00:51:41,679
Speaker 2: Really?

1053
00:51:42,159 --> 00:51:45,360
Speaker 1: Okay? All right? Very good? And uh these are these

1054
00:51:45,360 --> 00:51:48,559
are some some old old and uh some old and

1055
00:51:48,639 --> 00:51:51,239
dear friends of mine, so I'm really looking forward to that.

1056
00:51:51,320 --> 00:51:53,039
And then in the third hour today we have Rebecca

1057
00:51:53,159 --> 00:51:56,679
Turmel so stick around. But uh here it is plague. Dad.

1058
00:51:56,880 --> 00:52:03,840
This is just as well, and.

1059
00:52:03,920 --> 00:52:10,039
Speaker 5: It's just as well it would have ended up and

1060
00:52:10,159 --> 00:52:17,440
heart egg either way. Now that enough for either one

1061
00:52:17,519 --> 00:52:28,679
of us to say. And it's just as well. I

1062
00:52:28,840 --> 00:52:31,760
always thought to be would have a self another day

1063
00:52:35,360 --> 00:52:45,159
about your drinking tea way faith away and you saying back,

1064
00:52:57,000 --> 00:53:02,920
and it's just as well. You would have been it

1065
00:53:03,079 --> 00:53:09,719
up and audis a ways so I could drink into

1066
00:53:09,880 --> 00:53:18,599
your me marine bays a ways, And it's just as well.

1067
00:53:21,960 --> 00:53:24,559
I always thought that you would have a sealesan us

1068
00:53:24,679 --> 00:53:28,920
A days now.

1069
00:53:28,960 --> 00:53:31,679
Speaker 4: There's nothing that for either one of us to say

1070
00:53:37,119 --> 00:54:21,559
except back, and it's just as well we would have

1071
00:54:21,719 --> 00:54:28,760
ended up in hunted years away. That is nothing up

1072
00:54:28,840 --> 00:54:36,320
for you, the one of us, to say, and it's

1073
00:54:36,639 --> 00:54:37,519
just as well.

1074
00:54:40,800 --> 00:54:43,000
Speaker 5: I always about to see you. What to have Celsan

1075
00:54:43,119 --> 00:54:49,079
does A days so how to drink into your M

1076
00:54:49,199 --> 00:54:57,159
or we fades away M saying about

1077
00:55:01,039 --> 00:55:01,079
Speaker 4: M