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Speaker 1: W n rip the why why.

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Speaker 2: Did you do this to us? I? I gave you

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a mas riised?

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Speaker 3: Do you remember when you said I've never hurt you

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like it?

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Speaker 4: Did?

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Speaker 5: Well?

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Speaker 3: You? I?

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Speaker 2: I I again.

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Speaker 1: And I'll say I'm okay, but I.

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Speaker 5: Always feel this way, and I'll say.

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Speaker 6: I'm all right, but I'll always wonder why I can

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give them all my half food?

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Speaker 3: It's never enough?

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Speaker 7: Did she harmony give them a missing something?

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Speaker 1: Why?

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Speaker 2: Why would you tell me I'm the one.

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Speaker 3: Just for you.

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Speaker 1: To go and tear this whole thing up?

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Speaker 8: I know I wasn't perfect, but I loved you with

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my best Oh yes side.

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Speaker 5: And I'll say I'm okay, but I'll always feel this way,

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and I'll say.

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Speaker 1: I'm all right, but I'll always.

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Speaker 7: Wonder why I can give them a half boo. It's

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never enough to treat her morning? Give them a missing

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some bad.

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Speaker 3: Sudden a thing. God'll never be good enough? The same

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old story escape ugh.

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Speaker 5: And I'll say I'm okay, but I'll always feel this way,

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and I'll.

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Speaker 7: Say I'm all right, but I'll always wonder I can

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eat them on half food. It's never enough? Did she

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her morning give him a missing something?

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Speaker 1: What's wrong?

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Speaker 3: With my love?

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Speaker 9: What's wrong with my love?

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Speaker 3: Will I ever be?

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Speaker 10: No?

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Speaker 11: Oh? That is beautiful?

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Speaker 12: Am I missing something? That is Rebecca Turmel and this

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is Matt Connorton Unleashed. We are well into our third

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hour New Marrow Trace here on this Saturday, October twenty six,

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twenty twenty four. Almost forgot what yeah of the month

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it was, Jenny. That's weird of.

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Speaker 11: Me considering it's your part.

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Speaker 12: I know, I know, but we we are live, We

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are live here and thank you again, of course you

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are October sun.

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Speaker 11: Is great to see those guys in the second hour.

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Speaker 12: In the first hour we had Plague Dad and now

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joining us alive in studio here for the third hour

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we have Rebecca Turmel.

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Speaker 11: Hello, welcome, Well, I can't hear you. Why can't I

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hear you? Let's try that. Oh gorgeous there there she is. Okay,

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I can hear you now. Hi, Welcome to the show, Rebecca.

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Speaker 9: Thank you, thank you for having me. It's it's awesome

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to be here. Yes, talk music.

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Speaker 11: And no, wonderful, wonderful to have you.

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Speaker 12: Yeah, that's that's a beautiful song you had mentioned, uh

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off air, I think something about is that the first

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song you recorded.

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Speaker 9: Yes, So that's the first song that I went into

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the studio with. I was terrified. My guitar had never

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been in a recording studio. Yeah, that was a little

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over two years ago. Now I released that and Jil

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of twenty twenty two, so it's it's been a bit

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and it's been a journey so far.

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Speaker 11: Where did you record that?

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Speaker 9: I record that at the Underground in Randolph, Vermont with Vincent.

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He's incredible and such a great space over there.

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Speaker 12: Now, how did you How did you come to record there?

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Because you know, you've got so many options as far

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as studios or or even home recording or there's so

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many different ways now to record.

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Speaker 11: What led you to record there?

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Speaker 9: I well, first of all, I know absolutely nothing about

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recording any of that fun stuff. So a good friend

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of mine who I brought the song to, Jim Yeager.

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He's been in the music industry for well over forty

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years now. He recommended Vinnie because I just needed a

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place where I could feel comfortable because I was so

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frightened to get into the studio for the first time. Yeah,

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so he's like, get us to the other ground. It's

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a great spot and they have a great acoustic sound.

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So I'm like, all right, let's do it. And I

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ended up falling in love with the space and I'm

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really glad with that choice that I made to go

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to the Underground.

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Speaker 12: Yeah, now, did you because you sent us a couple

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other songs? Who were these all recorded there?

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Speaker 4: No?

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Speaker 9: Actually, I actually I've had the privilege of getting I

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got to record at Blackbird's studio in Nashville. But I

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also have recorded up Squam Sound with Randy Ruse. I've

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kind of tried a few different spaces and actually just

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this week I was at the Studio Portland in Portland,

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Main Oh, no kidding, So I just I like to

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try a new space with mostly each song, but wish

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you well. I also recorded at the Underground as well.

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Speaker 12: The studio in Portland was that because John MacArthur. I

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think that's how we met. We met you through John, Yes, yes?

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Is that the studio where it's him and his son?

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Speaker 9: I think yes, yes. Oh, the Sam MacArthur and John

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and his wife Weaver are also the co owners of

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that studio. Okay, but they do a great monthly event

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for singer songwriters in duo acts. You can go in

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and get a video live video and a live recording

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on one take in one night. But it's also an

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in studio audience in there too, so you get like this,

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it's awesome.

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Speaker 11: Is it intimidating to do that?

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Speaker 4: Oh?

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Speaker 9: Yeah, yeah, it's a very small space.

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Speaker 11: Right right, Yeah, but it.

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Speaker 9: Was really cool because you got to just live in

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the moment with the music, but capture it as well

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and like with that professional sound in that professional video.

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Speaker 11: Yeah.

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Speaker 9: So you get a little bit of everything, which is nice,

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and especially when I'm a working a full time working

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musician need a lot of content, video content and stuff

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for my ePK. It was great to do.

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Speaker 12: Yeah, yeah, no doubt now you So I read your bio.

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Did you start out doing covers and then started doing originals?

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Speaker 9: Yeah, so I've been. Actually I just hit my seven

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year anniversary of playing out.

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Speaker 11: Oh congratulations.

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Speaker 9: I started off as a cover artist, a giga musician.

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My first gig was in my hometown at this Irish

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plub I worked at. It was Kathleen's now it's Kathleen's

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Irish Pub and I just I did that for a while.

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I would take songs that I loved, songs that were

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meaningful to me, and tried to make them my own, yeah,

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make performance with it. And I finally decided, Okay, I

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need to try writing my own stuff and seeing how

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that feels like. And it's definitely an entirely different experience.

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Speaker 11: Yeah.

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Speaker 12: Yeah, it's interesting because for a lot of singer songwriters,

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you know, a lot of people we talked to on

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the show, they start out with original music and then

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they wind up doing covers live because they kind of

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have to because it helps, you know, as far as

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getting gigs, and that's what a lot of venues want.

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So it's interesting for you it kind of went the

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other way. I mean, was it always your plan to

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ultimately do your own material or not?

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Speaker 9: Really? It honestly wasn't even my plan to do music

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to begin with. I usually started off in the theater. Okay,

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so when I was a little girl at my first show,

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I think I was like nine years old, but I

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fell in love with performing, being on stage and in call.

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I dabbled with my guitar in high school, but I

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didn't really do much with it. I picked it back

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up and started playing songs and went to some open

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mics with some friends, some other theater kids, and because

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it's just fun, to do that stuff. Yeah, then I

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was getting gig opportunities. People asked me to play at

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their bars and restaurants, and it's just flourished into this

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whole journey, not only musical discovery but self discovery as well.

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Speaker 12: And to be able to do that full time. It

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seems like this is because the other thing I was

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surprised reading your bio, it seems like, in the grand

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scheme of things, you haven't been at this that long,

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but it seems like you've been able to really, you know,

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have a lot of success very quickly with it, which

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is great.

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Speaker 9: Yeah. I feel extremely fortunate that the opportunities that have

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come my way. It's it's just astounding to think of

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how far I have come because I've only been doing

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it full time for about two years now. Yeah, but

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I have a really great support system. I've had some

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wonderful mentors in my life that have really guided me

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and helped me so far, and I think helps with

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that trajectory to get yeah further along a little bit faster. Yeah,

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of course, I'm always nos on the grindstone, just yeah.

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Speaker 11: Yeah, yeah.

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Speaker 12: Yeah, Like like in terms of mentors, like like I

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assume John MacArthur is one.

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Speaker 9: Right, Oh yeah, and brad Myrick as well. I actually

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am a self taught guitarist and I just recently decided, okay,

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it's time I really understand what I'm doing, and I've

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been diving into some guitar lessons as well.

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Speaker 11: Yeah.

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Speaker 9: But my my first mentor was also previously my manager,

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was Jimmy Aeger, and he was a blessing to have

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at the beginning because I've always like been so I'm

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so nervous about everything all the time. I don't need

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to be, but I am. It's just a trade of

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mind I can't seem to get rid of. But he

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did a really good job keeping me level headed and

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just and being honest with me. So it's been nice

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to have just people who are genuinely there and who care,

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and it's just it's I'm so grateful for everyone I've had.

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Speaker 12: Yeah, I mean, how do you find how do you

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find those people? Because I hear a lot of especially

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young musicians, say it's hard to find mentors or people

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they can really trust, Like have you just been fortunate

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or do you have some kind of you know, are

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you intuitive in a way where you know, Okay, this

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person I think is going to help me in their

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genuine and they, you know.

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Speaker 11: Because there's a lot of I don't know sharks. I

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don't know how else to put it.

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Speaker 9: You know what I mean, I know exactly what you mean.

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I think it's just been a mix of both just

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being fortunate and also I just I really love being

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a part of our music community, and I play a lot,

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but when I'm not playing, I really try to get

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out and see what else everyone else is doing, especially

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the full timers, because it's hard. So I love to

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show support. And with that, that's everyone that I've met

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who's going to my life that has really been through,

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like mutual music friends who have known them previously. So

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that's how I ran into Jim. And I was performing

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with a friend of mine. Uh, and he's just the

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friendliest person there is. So he goes around and talks

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to everybody, and yeah, I'm so glad that he introduced

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himself to me, and I wanted to with him. I'm

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missing something. I wanted an unbiased opinion, and I didn't

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really know Jim that well at that point. Yeah, so

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I sent him that song and he's like, don't release this.

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Can I meet with you and I'm like, what do

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you mean? And and he was just telling me how

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he wanted to help and he didn't want like he

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wished he had someone when he started out to not

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make the same mistakes that he did, and having the

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understanding of the industry, which is has changed so much,

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it's constantly changing. Yeah, but someone just has the understanding.

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So I've gotten lucky with meeting those people. It's just

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so funny you meet one person and then someone else

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comes into the picture. You can learn something from everyone,

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Oh really can?

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Speaker 11: Yeah? Absolutely, yeah.

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Speaker 12: I think I think so much of being successful is

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is you know, putting out the right energy and attracting

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people into your you know, into your career and into

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your life, just generally who are also positive and uh

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you know, and and you know, like you said, you know,

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you meet one person and that leads to meeting another

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person and another person and it sounds like you've you've

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been able to meet uh people who are you know,

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like I said, genuine and and kind of build that

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support system. And like John MacArthur, we had him on

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the show. It was a few months ago now, and

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uh yeah he was great and just you know, just

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so positive and you know, because there is a lot

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of negativity too, in the sense that especially for for

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people who've been around a while, like like I have,

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the industry has changed a lot, you know, as technology

251
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has changed, the industry has changed, and you know, and

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there there is a lot of there's a lot of negativity.

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There's a lot of frustration, and and I think it's

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easy to get jaded, which a lot of people, you know,

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a lot of people do. Meanwhile, they're not sharks, they're

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just jaded, you know what I mean. So, so to

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be able to surround yourself with with positive people who

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want what's best for you and who want want what's

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best for the sea and really kind of see it

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as a community, I think is really important.

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Speaker 9: Yeah, I agree with you. There there's if we're not

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connected with each other. To me, it's nothing is ever

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a competition either, and everyone has something to offer as

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a musician, and I really respect and admire anybody who

265
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just does this in any way, shape or form. Yeah,

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so I always I have I feel like I do

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have a good sense of just like understanding people and

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where they're coming from. Like you were saying, it is

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really hard to to not get take things personally, especially

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if someone doesn't like your music or your sound. Sure sure, so,

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Like you said, surrounding yourself with like a positive group

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of people who are going after the same thing, or

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I try to surround myself with people who are in

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a place that I want to be or a level

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that I'm not at yet. I just love I love

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I love learning. I just want to learn from everyone.

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Speaker 12: You just said something very important because what a lot

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of people don't understand, and this this supplies not just

279
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in music, but in so many things. People get frustrated,

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People get envious of people who are doing better than

281
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they are, and so I think people will often miss

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an opportunity to learn from someone because they're frustrated that

283
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they're not where that person is, where they think they

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should be. And it's important to you know, the way

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I tend to think of it, as you know, I mean,

286
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there are people who are you know, I do a

287
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few different things, and there are people who are far

288
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more successful at these things than I am. But I

289
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look at those people and I try to take inspiration,

290
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try to learn from them. But also if they can

291
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do it, then that's proof of concept, you know, because

292
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none of it it's nothing is a zero sum game.

293
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Life is not a zero sum game. The music industry

294
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is not a zero some game. Just because somebody is

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doing better doesn't mean you're automatically doing worse. Really, it's

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an opportunity for you to learn from them and to

297
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kind of maybe try to model what they do or

298
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follow their example whatever it is, you know, or just

299
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you see them succeed and it's like, Okay, well if

300
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they can do it, I can do it, you know,

301
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And to really and to really kind of remember that

302
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and keep that in mind.

303
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Speaker 9: Oh definitely.

304
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Speaker 11: Yeah.

305
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Speaker 9: And everyone has their own path in this industry in particular,

306
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it's different for everyone. And what I'm learning too is

307
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success for everyone is different. We define success differently, So

308
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I'm really trying to figure figure it right now what

309
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what successful means to me and and kind of let

310
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that guide me as well, because what's working for someone

311
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else may actually may not work for me. So I

312
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think it's just in terms two of thinking what a

313
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success to you? And right now, if I could pay

314
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my bills with my music, that is success. I'm so

315
00:16:44,159 --> 00:16:47,039
fortunate for that. I count my blessings because you also

316
00:16:47,080 --> 00:16:47,639
don't know how.

317
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Speaker 11: Long it's gonna last sure, sure, Yeah.

318
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Speaker 9: It's all unknown. Every day is unknown, which makes it

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exciting but also terrifying.

320
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Speaker 11: What has surprised you?

321
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Speaker 12: Are there things that have surprised you just in terms

322
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of are there things about about your career where you

323
00:17:04,480 --> 00:17:06,279
kind of go, Okay, I didn't think this would be

324
00:17:06,400 --> 00:17:06,839
like this.

325
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Speaker 11: I didn't think, Uh, I don't know. I didn't.

326
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Speaker 12: I didn't think that, you know, whatever it is, it

327
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could even be something negative, like I didn't think, you know,

328
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Spotify would pay so poorly or whatever it is. Like,

329
00:17:17,640 --> 00:17:19,480
are there things even counter that have really been a

330
00:17:19,519 --> 00:17:20,160
surprise to you?

331
00:17:20,640 --> 00:17:24,880
Speaker 9: Yeah, I mean there's always surprises around every corner. Yeah,

332
00:17:25,079 --> 00:17:28,680
but with this, I think I've just been really surprising

333
00:17:28,839 --> 00:17:33,079
my myself. I haven't really I didn't really realize what

334
00:17:33,640 --> 00:17:37,480
I've I was capable of, because I've I'm always such

335
00:17:37,599 --> 00:17:41,160
like a nervous and shy person. I'm I look at

336
00:17:41,160 --> 00:17:44,240
myself as like an introverted extrovert, Like I actually have

337
00:17:44,240 --> 00:17:47,400
a really hard time with performing, which has always surprised

338
00:17:47,400 --> 00:17:50,240
me because I loved the theater of being on stage. Yeah,

339
00:17:50,279 --> 00:17:53,480
but that was that was down that I think about

340
00:17:53,519 --> 00:17:56,160
it Probably the first most kind of like shock factor

341
00:17:56,200 --> 00:17:58,240
for me. When I got on stage for the first time,

342
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I was my guitar. I'm like, oh, I'm not a character.

343
00:18:01,559 --> 00:18:06,599
I'm not playing somebody interesting. This is me, and you

344
00:18:06,680 --> 00:18:09,960
can't I mean, you can't act unless you want to

345
00:18:09,960 --> 00:18:12,279
try to be a different persona. But it's it's a

346
00:18:12,279 --> 00:18:15,359
goal of mine to always be as authentic and just

347
00:18:15,400 --> 00:18:19,720
be myself and and hope that's enough. But that was

348
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that was really shocking to me to just be like,

349
00:18:21,400 --> 00:18:24,640
whoa this is. It's a completely different game than I

350
00:18:24,640 --> 00:18:29,640
thought it was performance wise, But there's there's just been

351
00:18:30,200 --> 00:18:32,480
a lot of different experiences that I have that have

352
00:18:32,559 --> 00:18:36,119
been surprising, Like like Jim challenged me, he was like

353
00:18:36,680 --> 00:18:41,119
got me down to Blackbird Studio in Nashville, and thinking,

354
00:18:41,240 --> 00:18:44,839
like I had so many thoughts of what that experience

355
00:18:44,920 --> 00:18:47,960
was going to be like and how those people, uh,

356
00:18:48,000 --> 00:18:50,240
what they were going to be like all my session

357
00:18:50,359 --> 00:18:53,400
musicians and my producer, and I did get to meet

358
00:18:53,440 --> 00:18:56,200
John McBride too, which was really cool. But I was

359
00:18:56,279 --> 00:18:59,400
just shocked at how down to earth and humble all

360
00:18:59,400 --> 00:19:02,799
those guys were and inviting and warm and welcoming. I

361
00:19:02,839 --> 00:19:05,440
was so scared for absolutely no reason. Yeah, I was

362
00:19:05,480 --> 00:19:09,319
treated with respect, which is refreshing in an industry where

363
00:19:09,359 --> 00:19:12,519
people always you never know, right, like we were talking

364
00:19:12,519 --> 00:19:17,839
about earlier. But I think it's there's just been so

365
00:19:17,880 --> 00:19:20,119
many surprises, but beautiful surprises too.

366
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Speaker 10: Yeah.

367
00:19:20,720 --> 00:19:24,000
Speaker 9: Yeah, and just again it goes back to discovering myself.

368
00:19:24,039 --> 00:19:27,279
I don't really I'm still finding myself. I just turned

369
00:19:27,440 --> 00:19:31,279
twenty seven, so I still feel like I'm I'm still

370
00:19:31,279 --> 00:19:34,920
a kid, right, No, it's better starting to figure it out.

371
00:19:37,200 --> 00:19:37,839
Speaker 11: Yeah.

372
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Speaker 12: The Nashville perspective is interesting. We've we've had a lot

373
00:19:41,279 --> 00:19:43,359
of guests on the show who you know, they talk

374
00:19:43,400 --> 00:19:48,400
about going to Nashville and how intimidating it is, you know,

375
00:19:48,440 --> 00:19:52,279
because it's Nashville, but you know, they find people who

376
00:19:52,680 --> 00:19:54,559
or they have you know, usually if someone has some

377
00:19:54,599 --> 00:19:56,960
sort of a connection already in Nashville, you know, it's

378
00:19:57,000 --> 00:19:59,119
it's hopefully it's going to be a positive experience, and

379
00:19:59,359 --> 00:20:01,440
it usually turns out to be. But it's you know,

380
00:20:01,519 --> 00:20:04,079
that's that's pretty intimidating. You know, it sounds really scary

381
00:20:04,119 --> 00:20:08,240
to me. Is like those songwriting circles, and I'm sure

382
00:20:08,279 --> 00:20:10,240
those happen. I know they happened in New York City too,

383
00:20:10,400 --> 00:20:13,720
But but Nash. I mean that sounds like really intense pressure.

384
00:20:13,799 --> 00:20:15,519
I don't know if you had an opportunity to do

385
00:20:15,559 --> 00:20:16,000
that when.

386
00:20:15,839 --> 00:20:16,319
Speaker 11: You were there.

387
00:20:16,640 --> 00:20:18,440
Speaker 9: No, I did not perform when I was down there.

388
00:20:18,480 --> 00:20:20,960
I was just in the studio and I'm glad I

389
00:20:20,960 --> 00:20:23,039
didn't because I definitely am not ready for the Yeah,

390
00:20:23,640 --> 00:20:25,200
it's like you said, it's intimidating.

391
00:20:25,319 --> 00:20:25,599
Speaker 11: Yeah.

392
00:20:25,640 --> 00:20:27,400
Speaker 9: Those are some of the best people in the game.

393
00:20:27,599 --> 00:20:27,839
Speaker 11: Yep.

394
00:20:28,000 --> 00:20:30,920
Speaker 9: Yeah, but then again I come up here in New

395
00:20:30,920 --> 00:20:34,480
Hampshire and we also have the talent is in my

396
00:20:34,599 --> 00:20:39,359
opinion at at some of the same level. Yeah, it's

397
00:20:39,440 --> 00:20:42,119
not directed to one location, but it was cool to

398
00:20:42,119 --> 00:20:42,920
go experience it.

399
00:20:43,279 --> 00:20:46,000
Speaker 12: Yeah, yeah, yeah, No, I agree with you though. It's like,

400
00:20:46,119 --> 00:20:48,039
you know, any anywhere. I mean, we have an incredible

401
00:20:48,079 --> 00:20:51,680
music scene here, but I would also say that's probably

402
00:20:51,759 --> 00:20:54,559
the case anywhere, Like any anywhere in the world, there's people,

403
00:20:55,039 --> 00:20:56,599
you know, That's the thing. We're fortunate to live in

404
00:20:56,599 --> 00:20:58,920
an era where, because of the Internet, you know, you

405
00:20:58,960 --> 00:21:01,480
can find music for anywhere in the world and find

406
00:21:01,519 --> 00:21:04,759
something you like. You know, there's we live in an

407
00:21:04,759 --> 00:21:06,680
amazing time in that sense, because like Jenny and I

408
00:21:06,720 --> 00:21:08,440
are old enough to remember when you know, you go

409
00:21:08,480 --> 00:21:10,440
to the you go to the record store, and you

410
00:21:10,440 --> 00:21:12,559
flip through and you find stuff, and you know, now

411
00:21:12,599 --> 00:21:14,839
you can just go online find anything you want. You know,

412
00:21:15,039 --> 00:21:17,000
I mean literally, you know any genre and you know

413
00:21:17,039 --> 00:21:20,240
you want to hear some Norwegian speed metal, well you can.

414
00:21:20,400 --> 00:21:22,319
You can go online and google that and find some

415
00:21:22,599 --> 00:21:25,319
and you might find something you like. You know, it's

416
00:21:25,519 --> 00:21:29,000
it's it's really a remarkable time that way. I feel

417
00:21:29,000 --> 00:21:34,319
like too. In music, people are just generally musicians creative

418
00:21:34,319 --> 00:21:39,960
types are just generally more supportive. I often draw a

419
00:21:40,000 --> 00:21:42,839
contrast with stand up comedy. Now, I have no experience

420
00:21:42,920 --> 00:21:45,279
in stand up comedy. I'm not a comic, but I

421
00:21:45,599 --> 00:21:48,000
some of the podcasts that I've fallen into listening to

422
00:21:48,039 --> 00:21:50,680
over the years are hosted by comics. And my impression

423
00:21:50,680 --> 00:21:53,799
of stand up comedy is that it's very cutthroat and

424
00:21:53,880 --> 00:21:57,400
everyone kind of secretly hates each other and sometimes it

425
00:21:57,480 --> 00:22:00,799
spills out into the open and it's But with music,

426
00:22:01,000 --> 00:22:04,440
I feel like all genres too. I feel like like

427
00:22:04,480 --> 00:22:07,240
people are just generally more supportive and want to see

428
00:22:07,279 --> 00:22:10,240
other people succeed and and want to want to help

429
00:22:10,279 --> 00:22:13,119
each other, and there's much more of a sense of community.

430
00:22:13,160 --> 00:22:18,440
Speaker 9: Definitely, And that was honestly a big reason too why

431
00:22:18,680 --> 00:22:22,640
I made that transition from theater to the music, because

432
00:22:22,680 --> 00:22:25,480
I felt more of a warm and welcoming community. Yeah,

433
00:22:25,960 --> 00:22:29,400
it's it's hard with professional theater. It's it's very competitive

434
00:22:30,119 --> 00:22:33,519
and like everything matters like inside and out, like and

435
00:22:33,799 --> 00:22:36,720
you've got to be a triple threat. And I've never

436
00:22:36,880 --> 00:22:43,359
just been into competition. Yeah, just so when I was

437
00:22:43,400 --> 00:22:46,200
started out and playing out live and the the amount

438
00:22:46,240 --> 00:22:49,400
of support that I got despite not being that good

439
00:22:49,559 --> 00:22:52,279
when I first started, I look back at somebody was like,

440
00:22:52,359 --> 00:22:56,359
oh my gosh, but we all get to start somewhere.

441
00:22:56,440 --> 00:22:57,039
Speaker 11: Yeah, exactly.

442
00:22:57,799 --> 00:23:01,880
Speaker 9: So, Yeah, it's just that when people are warm and

443
00:23:01,920 --> 00:23:05,359
welcoming it it helps everybody in the long run. We

444
00:23:05,400 --> 00:23:08,200
all need to support each other and be a part

445
00:23:08,200 --> 00:23:10,880
of it together because they can be isolating. We're all

446
00:23:10,920 --> 00:23:13,519
on the road by ourselves, so when you can get

447
00:23:13,519 --> 00:23:15,920
together or watch someone else, it's so important to make

448
00:23:15,960 --> 00:23:17,000
those connections.

449
00:23:17,440 --> 00:23:19,079
Speaker 12: By the way you use the term triple threat, I

450
00:23:19,119 --> 00:23:21,119
think I've heard that before apply to theater. Is that

451
00:23:21,240 --> 00:23:22,599
let me let me see if I if I have

452
00:23:22,640 --> 00:23:22,960
it right?

453
00:23:23,240 --> 00:23:23,440
Speaker 6: Is it?

454
00:23:23,480 --> 00:23:27,640
Speaker 11: You got to be able to sing, dance, and act,

455
00:23:28,079 --> 00:23:28,519
you got it.

456
00:23:30,079 --> 00:23:31,319
Speaker 9: I could not do the dance part.

457
00:23:33,160 --> 00:23:34,559
Speaker 11: Did you do theater for a long time?

458
00:23:34,680 --> 00:23:35,039
Speaker 1: I did?

459
00:23:35,200 --> 00:23:38,200
Speaker 9: Yeah, I actually I was in the theater program up

460
00:23:38,200 --> 00:23:42,240
in Plmoth State University and I did some shows at

461
00:23:42,240 --> 00:23:45,799
like in the Interlake Summer Theater. There was a professional

462
00:23:45,839 --> 00:23:47,640
theater out of like the Tilt and prep school. So

463
00:23:47,680 --> 00:23:51,759
I was in both like community and professional stage shows. Yeah,

464
00:23:51,839 --> 00:23:54,720
which was really cool. And again, like those difference in

465
00:23:54,759 --> 00:23:59,119
communities in the support system. Community theater is in my opinion,

466
00:23:59,240 --> 00:24:02,440
so important Yeah, ef fort to have in every every city,

467
00:24:02,559 --> 00:24:07,000
every town that it was just so important to my

468
00:24:07,079 --> 00:24:10,359
development growing up. Yeah, and just having the.

469
00:24:10,359 --> 00:24:12,799
Speaker 11: Arts, Yeah, you need them absolutely.

470
00:24:12,920 --> 00:24:14,880
Speaker 12: So without that experience, you might not be doing what

471
00:24:14,920 --> 00:24:17,119
you're doing now, I would assume, Yeah.

472
00:24:16,759 --> 00:24:20,359
Speaker 9: I probably wouldn't. I don't think i'd have the ability to.

473
00:24:20,799 --> 00:24:22,319
It's hard to step on stage.

474
00:24:22,599 --> 00:24:26,400
Speaker 11: Sure, sure does that work for it? So I don't

475
00:24:26,880 --> 00:24:27,440
do it anymore.

476
00:24:27,440 --> 00:24:29,279
Speaker 12: I used to play in bands, and for me, it

477
00:24:29,440 --> 00:24:34,680
was always because I'm an introvert. But which is surprises

478
00:24:34,759 --> 00:24:36,960
some people when they hear me say that because I

479
00:24:37,000 --> 00:24:39,200
do this, But it's like, yeah, but if you really understand,

480
00:24:39,319 --> 00:24:43,039
because extroverts don't understand what being an introvert really is

481
00:24:43,119 --> 00:24:46,240
in some ways. But but for me, it was always

482
00:24:46,279 --> 00:24:48,519
with playing out. It was like I would be very

483
00:24:48,519 --> 00:24:51,160
anxious right up to the moment of getting on stage.

484
00:24:51,160 --> 00:24:55,759
Once I was on stage, I just all that fell away.

485
00:24:57,359 --> 00:25:01,880
Although I never did what you so. I always played

486
00:25:01,880 --> 00:25:04,279
in bands, So when you're a dude and a band

487
00:25:04,319 --> 00:25:05,359
with a bunch of dudes.

488
00:25:05,160 --> 00:25:07,680
Speaker 11: It's a little different, you know what. It's safer, you

489
00:25:07,680 --> 00:25:08,119
know what I mean.

490
00:25:08,160 --> 00:25:09,960
Speaker 12: I was the bass, Like, if I'm a bass player

491
00:25:10,000 --> 00:25:13,279
in a rock band, there's you know, and other bass

492
00:25:13,279 --> 00:25:15,799
players might not like when I say this, but there's

493
00:25:15,799 --> 00:25:18,640
not a lot of pressure really because the attention is

494
00:25:18,680 --> 00:25:20,839
not on me when I'm on stage well doing what

495
00:25:20,960 --> 00:25:22,599
you do, the attention is all on you.

496
00:25:23,000 --> 00:25:26,960
Speaker 9: Yeah, it's scary, especially being by yourself. Yeah, and I've

497
00:25:27,319 --> 00:25:29,640
really had to work on being confident with my guitar,

498
00:25:29,880 --> 00:25:33,039
being self taught, yeah, and trying to figure that out too.

499
00:25:34,400 --> 00:25:37,839
But it's I think, no matter what, it's just a

500
00:25:37,880 --> 00:25:40,079
step foot on stage on any type of stage, no

501
00:25:40,119 --> 00:25:43,720
matter if it's twenty people, one hundred and fifty people.

502
00:25:44,200 --> 00:25:46,480
To me, it's always scary, like you're saying, I still

503
00:25:46,480 --> 00:25:51,079
get that, like I despite seven years up until like

504
00:25:51,160 --> 00:25:52,640
I'm on stage, it takes me a little bit to

505
00:25:52,680 --> 00:25:55,240
settle in. But then once I do and get comfortable, yeah,

506
00:25:55,279 --> 00:25:58,440
it kind of fades away. Yeah yeah, but I'm also

507
00:25:58,519 --> 00:26:01,640
a perfectionist. I nip everything, so I try. I got

508
00:26:01,640 --> 00:26:03,720
to like find a way to escape and get out

509
00:26:03,759 --> 00:26:05,359
of my head. And it's so fure because the music

510
00:26:05,400 --> 00:26:07,480
does that for me. Yeah, I garret of those I'm

511
00:26:07,559 --> 00:26:09,799
just okay, what's the music that I'm playing? What's the

512
00:26:09,839 --> 00:26:10,680
story I'm telling?

513
00:26:11,000 --> 00:26:11,160
Speaker 4: Well?

514
00:26:11,160 --> 00:26:12,680
Speaker 12: You kind of want to be a little anxious, right,

515
00:26:13,200 --> 00:26:15,640
Like in a way, it's you know, it might not

516
00:26:15,680 --> 00:26:17,599
be the most pleasant thing to feel that nervousness, but

517
00:26:17,640 --> 00:26:19,880
if it went away, wouldn't you kind of miss it?

518
00:26:19,920 --> 00:26:22,200
Because then it's like, because any you might start wondering,

519
00:26:23,240 --> 00:26:25,400
I don't know, is this exciting to me still? Or

520
00:26:25,440 --> 00:26:26,839
am I am I getting complacent?

521
00:26:27,119 --> 00:26:27,319
Speaker 11: You know?

522
00:26:27,519 --> 00:26:29,839
Speaker 9: You make a good point there, ya Does the nerves

523
00:26:29,880 --> 00:26:32,839
tell us that we care and it's important to us.

524
00:26:33,000 --> 00:26:33,559
Speaker 11: Yeah?

525
00:26:33,599 --> 00:26:37,279
Speaker 9: And maybe that's why I haven't lost it because every

526
00:26:37,359 --> 00:26:39,960
day I don't, this just gets more meaningful to me

527
00:26:40,000 --> 00:26:41,960
because I've been doing it for so long now and

528
00:26:42,079 --> 00:26:45,160
chasing something kind of not really still not knowing what

529
00:26:45,480 --> 00:26:48,079
I'm chasing. Yeah, and just all I know is I

530
00:26:48,119 --> 00:26:50,599
want to have a career in music, right, But you

531
00:26:50,640 --> 00:26:55,839
could do so much with that, right, But yeah.

532
00:26:55,000 --> 00:26:57,400
Speaker 11: Yeah, I because I had moments.

533
00:26:57,680 --> 00:26:59,160
Speaker 12: I remember, you know, there were a couple of shows

534
00:26:59,160 --> 00:27:01,279
along the way where I I wasn't nervous before, but

535
00:27:01,599 --> 00:27:04,000
I look back and I realized, well, that's because there

536
00:27:04,000 --> 00:27:06,559
were shows where maybe there was hardly anyone there. So

537
00:27:06,599 --> 00:27:07,920
it's like, well, I kind of takes the pressure off

538
00:27:07,960 --> 00:27:09,480
when you're playing to an empty room. It's like there's

539
00:27:09,480 --> 00:27:11,200
nobody here, but you know, but then we'd play a

540
00:27:11,240 --> 00:27:13,400
show where there were people, and I'd get nervous again,

541
00:27:13,440 --> 00:27:16,200
and it's like, okay, good good, it's still there. But yeah,

542
00:27:16,240 --> 00:27:18,720
I'd like I'm I'm very much an introvert. But for me,

543
00:27:18,880 --> 00:27:24,039
it's like I'm much more comfortable being on stage or

544
00:27:24,240 --> 00:27:26,759
any kind of performance element.

545
00:27:27,359 --> 00:27:30,559
Speaker 11: That's where I feel the safest. You know, whether it's.

546
00:27:30,440 --> 00:27:32,559
Speaker 12: Being on stage, playing in a band, or being behind

547
00:27:32,559 --> 00:27:36,480
a microphone doing a radio show, or public speaking doesn't

548
00:27:36,480 --> 00:27:39,079
phaze me at all, actually enjoy it. I'm I feel

549
00:27:39,079 --> 00:27:43,000
more comfortable speaking in public than I do just having

550
00:27:43,039 --> 00:27:44,240
a conversation with.

551
00:27:44,240 --> 00:27:47,960
Speaker 11: Somebody, and I mean, I'm you know I can do.

552
00:27:48,759 --> 00:27:52,160
Speaker 12: I used to be very socially awkward, but I dealt

553
00:27:52,200 --> 00:27:54,960
with that. But but but ultimately, like this is where

554
00:27:54,960 --> 00:27:56,839
I feel the safest behind this microphone.

555
00:27:56,839 --> 00:27:58,000
Speaker 11: You know what I mean? Does that make sense?

556
00:27:58,240 --> 00:27:58,319
Speaker 6: It?

557
00:27:58,400 --> 00:28:00,480
Speaker 9: Sure does. I know exactly what you mean and it

558
00:28:00,680 --> 00:28:03,480
and people don't understand it that don't do it.

559
00:28:03,720 --> 00:28:04,519
Speaker 1: Yeah, what do you mean?

560
00:28:04,559 --> 00:28:07,119
Speaker 9: You're scared to get there? You're or you sing so well,

561
00:28:07,240 --> 00:28:09,559
or you you've been doing this for so long, And

562
00:28:09,599 --> 00:28:12,880
I'm like I it doesn't matter every time. I'm still

563
00:28:13,160 --> 00:28:18,000
just so terrifying, right right. I actually had the first

564
00:28:18,039 --> 00:28:22,400
opportunity to open for someone thanks to the New Hampshire

565
00:28:22,559 --> 00:28:26,960
Music Collective. Yeah, John MacArthur. I got to open up

566
00:28:26,960 --> 00:28:31,000
for John Gorka the Bank and Ham and it was incredible.

567
00:28:31,000 --> 00:28:33,559
And I really didn't think I was. I was trying

568
00:28:33,559 --> 00:28:35,799
to keep myself congcous. I knew I was gonna be nervous. Yeah,

569
00:28:36,720 --> 00:28:38,720
and I got up there. All I had to do

570
00:28:38,880 --> 00:28:41,279
was play for twenty minutes. I play for three hours

571
00:28:41,279 --> 00:28:44,079
almost every day. All of a sudden, Yeah, but I

572
00:28:44,119 --> 00:28:46,839
got so incredibly nervous. I had to run off stage

573
00:28:46,920 --> 00:28:49,880
and immediately throw up. I will how much I was

574
00:28:49,880 --> 00:28:51,880
worked up. Thank god nobody could tell.

575
00:28:52,359 --> 00:28:54,200
Speaker 11: You you mean at the end of the site.

576
00:28:54,400 --> 00:28:58,279
Speaker 9: Wow, and thank god I have run around the Yeah,

577
00:28:58,319 --> 00:29:01,480
And in my head, I'm like, why it's so scared

578
00:29:01,960 --> 00:29:04,880
Because I have been doing this so long and it

579
00:29:04,920 --> 00:29:06,519
was my own I'm wondering if it was with my

580
00:29:06,559 --> 00:29:10,240
own music. But I'm just finding that maybe it's just

581
00:29:10,240 --> 00:29:12,039
for me. But I don't think it's going to go away.

582
00:29:12,079 --> 00:29:14,799
Those nerves are always going to be there. But I

583
00:29:14,839 --> 00:29:18,160
just I care so deeply, and I also just want

584
00:29:18,200 --> 00:29:21,400
to create an experience for anyone that's at one of

585
00:29:21,400 --> 00:29:24,960
my shows, even if it's just to escape or or

586
00:29:25,039 --> 00:29:28,119
to get out whatever you're feeling that heartbreak they just

587
00:29:28,160 --> 00:29:30,480
went through. Sometimes you just need to hear that sad

588
00:29:30,519 --> 00:29:35,359
song or something. But yeah, I think I will forever

589
00:29:35,400 --> 00:29:35,920
be nervous.

590
00:29:37,559 --> 00:29:40,839
Speaker 12: Unfortunately, Have you gotten an open for for anybody else

591
00:29:40,920 --> 00:29:41,920
like that, like John Gorka?

592
00:29:42,200 --> 00:29:46,559
Speaker 9: No, that's that's it so far. I hope too. That's

593
00:29:46,599 --> 00:29:48,240
my goin in the future to do more of that.

594
00:29:48,279 --> 00:29:49,440
I really enjoyed it.

595
00:29:49,519 --> 00:29:52,240
Speaker 11: Do you have like a kind of a dream idea

596
00:29:52,279 --> 00:29:54,119
of who you'd really like to open for. Is there

597
00:29:54,160 --> 00:29:55,440
someone you just think would be.

598
00:29:57,160 --> 00:30:01,079
Speaker 9: Would love to open up for? Liz Longly So she's

599
00:30:01,119 --> 00:30:02,559
one of my favorite singer songwriters.

600
00:30:03,200 --> 00:30:04,039
Speaker 11: Not familiar with her.

601
00:30:04,200 --> 00:30:08,000
Speaker 9: She I think she's from Pennsylvania, but she's in Nashville.

602
00:30:08,599 --> 00:30:11,160
It's kind of like an Americana artist, but she does

603
00:30:11,160 --> 00:30:13,759
a little bit of everything. But I saw her live

604
00:30:13,880 --> 00:30:16,880
at the Tupelou Music Hall. I just wanted to go

605
00:30:16,880 --> 00:30:18,559
to a show. I had the night off. I never

606
00:30:18,640 --> 00:30:21,200
get Fridays or Saturdays off. I think this was like

607
00:30:21,599 --> 00:30:25,640
that's probably four years ago now. Yeah, and I saw

608
00:30:25,720 --> 00:30:27,920
it was a female artist, and if I get a chance,

609
00:30:28,119 --> 00:30:30,960
like I always try to find someone that I can

610
00:30:31,000 --> 00:30:33,640
just go for inspiration or just to see what someone

611
00:30:33,640 --> 00:30:36,559
else is doing. Yeah, And I absolutely fell in love

612
00:30:36,599 --> 00:30:38,839
with her in the way that she told her stories

613
00:30:39,000 --> 00:30:42,920
and her songs just had a great sound. But I

614
00:30:42,960 --> 00:30:45,920
absolutely adore her and her one of her songs is

615
00:30:45,920 --> 00:30:49,160
actually what inspired me to write my own And am

616
00:30:49,200 --> 00:30:52,480
I missing something? So if I could open up for

617
00:30:52,519 --> 00:30:54,720
her one day that I think I could fit well

618
00:30:54,759 --> 00:30:58,039
into into like her sound too, like we'd pair well.

619
00:30:58,079 --> 00:31:00,519
Speaker 11: Yeah, yeah, oh very cool.

620
00:31:00,599 --> 00:31:01,519
Speaker 9: Maybe one day.

621
00:31:02,160 --> 00:31:04,519
Speaker 12: If you're just joining us. Rebecca Turmelo is here with

622
00:31:04,599 --> 00:31:09,279
us live in studio. Have you is anyone reached out

623
00:31:09,279 --> 00:31:11,720
to her like to try to, you know, like maybe

624
00:31:12,440 --> 00:31:14,119
John or somebody like just kind of.

625
00:31:15,759 --> 00:31:18,839
Speaker 9: I would like to, but I think I'd be too

626
00:31:18,839 --> 00:31:20,480
scared to do it right now, you know what I mean.

627
00:31:20,559 --> 00:31:23,759
But it's Liz Longley. I need to be ready because

628
00:31:23,960 --> 00:31:27,279
actually so I'm in a duo partner with I'm So Lucky,

629
00:31:27,359 --> 00:31:30,880
My my, my boyfriend, and musical genius all in one.

630
00:31:30,920 --> 00:31:32,759
We played together all the time. Oh, we saw her

631
00:31:32,799 --> 00:31:35,319
when she came to The Flying Monkey at the beginning.

632
00:31:35,319 --> 00:31:39,880
It was March I think this year, and he's like,

633
00:31:39,920 --> 00:31:41,319
you have to go talk to her. She came out

634
00:31:41,359 --> 00:31:47,079
after the show. Oh really, I my first experience with

635
00:31:47,160 --> 00:31:51,079
like getting starstruck. Yeah, yeah, like is this what it

636
00:31:51,119 --> 00:31:55,119
feels like? But she he told her that we always

637
00:31:55,119 --> 00:31:58,359
play her song Camaro's. This song is incredible in terms

638
00:31:58,400 --> 00:32:00,279
of like the lyrics and the story's story I can

639
00:32:00,319 --> 00:32:03,119
relate to. And she's like, oh, send me a video

640
00:32:03,200 --> 00:32:05,519
when you get the chance. So every time we play it.

641
00:32:05,519 --> 00:32:06,960
Now I've been taking a video and I'm like, when

642
00:32:06,960 --> 00:32:09,920
it's right, maybe we'll send it over to her see

643
00:32:09,920 --> 00:32:11,759
what happens, and maybe that could be the opportunity.

644
00:32:11,839 --> 00:32:14,480
Speaker 12: That could be No, that could very well, that could

645
00:32:14,519 --> 00:32:17,920
very well be an n So. Now, so how often

646
00:32:17,920 --> 00:32:18,720
do you play as a duo?

647
00:32:19,319 --> 00:32:22,559
Speaker 9: Not too often, probably about like two or three times

648
00:32:22,599 --> 00:32:26,640
a month. But we just played actually last night, we

649
00:32:26,640 --> 00:32:29,559
played a thirtieth birthday party for a good friend of ours.

650
00:32:30,680 --> 00:32:33,799
But we we've been writing some music together and that's

651
00:32:33,839 --> 00:32:37,880
been another great experience lately, is working and writing with

652
00:32:37,920 --> 00:32:42,000
someone else and we we end to Actually it was

653
00:32:42,039 --> 00:32:44,119
the two of us that recorded the Studio Portland, so

654
00:32:44,160 --> 00:32:46,799
I'm really hoping we got some good takes because it

655
00:32:46,799 --> 00:32:50,559
was nerve wracking. Oh really, yeah, So I hope to

656
00:32:50,599 --> 00:32:53,160
have some of our music out soon because we performed

657
00:32:53,160 --> 00:32:54,759
a duet that we wrote together there.

658
00:32:54,880 --> 00:32:56,960
Speaker 11: Excellent. Does he also play guitar?

659
00:32:57,160 --> 00:32:59,559
Speaker 9: Oh yeah, Okay, he is the most talented guitarist that

660
00:32:59,599 --> 00:33:02,079
I know. But he also is a singer songwriter. He

661
00:33:02,119 --> 00:33:05,440
produces great with all the recording, so I'm actually learning

662
00:33:05,440 --> 00:33:10,440
a lot from him in that sense. Brendan Gill Gill

663
00:33:10,599 --> 00:33:14,519
and he just actually released his first single are You Here?

664
00:33:15,200 --> 00:33:18,880
And self produced that and mixed it on his own

665
00:33:19,359 --> 00:33:23,200
And I'm the quality of it. It just came out great,

666
00:33:23,559 --> 00:33:25,839
and I'm like, I wish, I wish I would have

667
00:33:26,079 --> 00:33:27,880
put a little bit more time into my first song.

668
00:33:27,920 --> 00:33:29,680
I mean, I'm proud of how it came out, but

669
00:33:29,720 --> 00:33:32,519
it's nice to see, uh, like because he put a

670
00:33:32,519 --> 00:33:35,319
lot of time and years into it versus I just

671
00:33:35,400 --> 00:33:36,920
kind of had of ripped that band aid off. I'm

672
00:33:36,920 --> 00:33:39,279
just gonna get in there. Whatever happens, happens, we'll capture it.

673
00:33:39,960 --> 00:33:43,799
I can always re record it, right, right, So I

674
00:33:43,839 --> 00:33:46,920
it's it's it's it's cool to like meet somebody else

675
00:33:47,079 --> 00:33:48,960
who has a different perspective and a different way of

676
00:33:49,000 --> 00:33:52,039
doing things because I'm learning from that. I'm not stuck

677
00:33:52,079 --> 00:33:54,559
in my ways. I'm seeing how something else works with

678
00:33:54,839 --> 00:33:55,799
a different approach.

679
00:33:56,079 --> 00:33:56,240
Speaker 10: Right.

680
00:33:56,559 --> 00:33:59,119
Speaker 9: So I'm lucky too, Like I just I get to

681
00:33:59,160 --> 00:34:01,960
spend all my time with him doing what I love,

682
00:34:02,000 --> 00:34:04,400
with the person I love it. There's nothing that beats that.

683
00:34:04,400 --> 00:34:07,440
Speaker 12: That's awesome, excellent, excellent. Well we should, uh we'll play

684
00:34:07,480 --> 00:34:10,920
another track. What should we play next? I'll let you pick,

685
00:34:11,039 --> 00:34:13,480
We've got the road song or wish you Well.

686
00:34:13,559 --> 00:34:15,679
Speaker 9: Let's do wish you Well? Because that was that's kind

687
00:34:15,679 --> 00:34:17,360
of like part two that am I missing something?

688
00:34:17,639 --> 00:34:17,840
Speaker 6: Oh?

689
00:34:18,000 --> 00:34:20,320
Speaker 12: Okay, perfect, and then we'll play we'll play road song

690
00:34:20,360 --> 00:34:22,360
at the end of the segment. But if you are

691
00:34:22,400 --> 00:34:24,639
just doing your nest. Rebecca Turmael is with us here

692
00:34:24,639 --> 00:34:26,960
in studio. Oh which studio was this one recorded?

693
00:34:27,679 --> 00:34:28,760
Speaker 9: Also the underground?

694
00:34:28,960 --> 00:34:30,880
Speaker 11: Okay? Gotcha? And Vermont?

695
00:34:30,960 --> 00:34:31,119
Speaker 4: Yeah?

696
00:34:31,159 --> 00:34:33,400
Speaker 11: I said, okay, very good, All right, this is wish

697
00:34:33,440 --> 00:34:33,800
you well.

698
00:34:56,400 --> 00:34:59,239
Speaker 3: I did everything.

699
00:34:59,719 --> 00:35:07,440
Speaker 8: Do you would try and page, but that's not who I.

700
00:35:07,119 --> 00:35:09,760
Speaker 1: Have ever sees.

701
00:35:14,320 --> 00:35:19,880
Speaker 5: Even after those things you didn't sit.

702
00:35:22,960 --> 00:35:28,760
Speaker 3: Don't wanna old them against you. Wish you well instead.

703
00:35:30,639 --> 00:35:35,599
Speaker 13: I was sure if I could tell you two.

704
00:35:37,400 --> 00:35:45,199
Speaker 1: This one, I will wish you invent fill Oh, I

705
00:35:45,599 --> 00:35:46,960
wish you.

706
00:35:50,079 --> 00:35:55,280
Speaker 5: I've found this snull point, your turn fromb.

707
00:35:55,199 --> 00:36:08,880
Speaker 1: And men, letting go of it all. Yup. I hope

708
00:36:08,920 --> 00:36:14,199
you here you can be free from all your pay.

709
00:36:17,320 --> 00:36:22,039
Speaker 3: It may not work it down, but I'll never be

710
00:36:22,400 --> 00:36:28,559
a ship. As If I could.

711
00:36:28,360 --> 00:36:30,239
Speaker 13: Tell you two in.

712
00:36:30,360 --> 00:36:35,159
Speaker 3: Your face, here's my I'd say, Afraid.

713
00:36:36,239 --> 00:36:37,159
Speaker 14: To love is.

714
00:36:37,360 --> 00:36:40,599
Speaker 1: Sound, It's true a ship.

715
00:37:01,280 --> 00:37:02,119
Speaker 3: I wish you.

716
00:37:03,559 --> 00:37:09,440
Speaker 15: If I could tell you to your faces walking ahead.

717
00:37:09,360 --> 00:37:15,320
Speaker 1: Say abraid to yourself it's okay.

718
00:37:16,199 --> 00:37:17,679
Speaker 3: A small huh.

719
00:37:19,960 --> 00:37:38,880
Speaker 13: Sell to your face us saying with you ju ju is.

720
00:37:48,920 --> 00:37:50,480
Speaker 11: Oh, that's nice. I wish you well.

721
00:37:50,920 --> 00:37:54,400
Speaker 12: Rebecca Turmal is here with us live in studio on

722
00:37:54,440 --> 00:38:00,280
this Saturday morning here on Matt connorton Unleashed, and yeah,

723
00:38:00,280 --> 00:38:02,760
we were. We were kind of talking off air about

724
00:38:02,760 --> 00:38:05,199
the song and how great the mix is and and

725
00:38:05,239 --> 00:38:08,239
how how nice those guitars sound, and as you pointed

726
00:38:08,280 --> 00:38:10,599
out to the drums sound really good. And and he's

727
00:38:10,599 --> 00:38:12,000
a he's a what's his name, Vinnie?

728
00:38:12,039 --> 00:38:12,599
Speaker 1: Is that yeah?

729
00:38:12,679 --> 00:38:13,400
Speaker 9: Vincent Freeman.

730
00:38:13,599 --> 00:38:17,079
Speaker 11: Yeah, he's a drummer. Yeah. Yeah.

731
00:38:17,280 --> 00:38:20,239
Speaker 12: Now that's a lot of the stuff that comes out

732
00:38:20,239 --> 00:38:22,880
in Nashville too. I always say this, I'm curious if

733
00:38:22,880 --> 00:38:24,880
you agree with me in terms of production. I mean,

734
00:38:24,920 --> 00:38:27,760
the production on that is phenomenal. I feel like I'm

735
00:38:27,760 --> 00:38:29,800
not a I'm not a big country guy, but I

736
00:38:29,840 --> 00:38:33,880
feel like the best produced because I have a somewhat

737
00:38:33,920 --> 00:38:37,239
of a background in audio production, the best produced music

738
00:38:37,280 --> 00:38:39,920
to me, but you just here on the radio on

739
00:38:39,960 --> 00:38:43,280
commercial radio is coming out of Nashville in terms of

740
00:38:43,280 --> 00:38:45,480
how the guitars sound and how the drums sound like.

741
00:38:45,679 --> 00:38:47,920
I feel like Nashville's really got it down right now,

742
00:38:47,960 --> 00:38:49,960
you know. But I'm picky as hell. Too, like, especially

743
00:38:49,960 --> 00:38:53,360
about how drums sound. You know, like something went somewhere

744
00:38:54,079 --> 00:38:57,800
along the line with uh. I think it probably started

745
00:38:57,840 --> 00:38:59,960
in the nineties, like with rock music, something to me

746
00:39:00,239 --> 00:39:03,920
went wrong with the way guitars are recorded. They they

747
00:39:03,920 --> 00:39:05,840
don't sound right to me. And and a lot of

748
00:39:05,960 --> 00:39:09,239
a lot with drums too, you know. But I feel like,

749
00:39:09,320 --> 00:39:11,400
but anything that comes out of Nashville, it's like they've

750
00:39:11,440 --> 00:39:12,599
really nailed it, you know.

751
00:39:12,920 --> 00:39:16,039
Speaker 9: Yeah, And that's a big reason why I made the

752
00:39:16,039 --> 00:39:19,119
decision to go down there. I would have sent you

753
00:39:19,119 --> 00:39:20,679
that song, but I didn't have a radio edit. And

754
00:39:20,679 --> 00:39:23,440
I say, one bed word, no, it's not really that bad.

755
00:39:24,880 --> 00:39:27,880
But I wrote this song with Jim called Girls on

756
00:39:27,960 --> 00:39:33,239
Fire my female empowerment anthem. But that was something I

757
00:39:33,320 --> 00:39:35,840
noticed too when I was down there or listening back

758
00:39:35,920 --> 00:39:39,679
to just like the first take, Yeah, like is this real?

759
00:39:41,159 --> 00:39:43,760
So good? They haven't even touched it yet. Yeah, but

760
00:39:43,800 --> 00:39:46,079
they had one of those I just I don't have

761
00:39:46,119 --> 00:39:48,639
too much knowledge on it yet. I'm learning more about it,

762
00:39:49,559 --> 00:39:52,679
like one of the original Neve consoles. Does that sound correct?

763
00:39:54,199 --> 00:39:56,440
And but the drums sound that came out of that

764
00:39:57,559 --> 00:40:01,599
was really really impressive. And that was the first time too,

765
00:40:01,599 --> 00:40:05,000
when I was in that studio, noticing and starting to

766
00:40:05,039 --> 00:40:08,800
listen and hear the difference in sounds and instruments and

767
00:40:08,840 --> 00:40:13,239
even my vocals and background vocals. Yeah, and that's why

768
00:40:13,400 --> 00:40:16,280
I kind of had been experimenting with jumping around at

769
00:40:16,280 --> 00:40:19,119
different studios so I can learn and hear it and

770
00:40:19,239 --> 00:40:20,639
know what I like, because I don't. I don't know

771
00:40:20,679 --> 00:40:23,280
that yet. I only recorded a handful of songs so far.

772
00:40:25,000 --> 00:40:27,920
Speaker 11: All the backing vocals. That's all you I assume on.

773
00:40:28,039 --> 00:40:30,320
Speaker 9: Yeah, I wish you well yep. And then am I

774
00:40:30,320 --> 00:40:31,079
missing stuff they too?

775
00:40:31,119 --> 00:40:35,239
Speaker 11: Yeah? Okay, yeah? Yeah? Is that?

776
00:40:35,480 --> 00:40:35,960
Speaker 3: Uh?

777
00:40:36,519 --> 00:40:38,440
Speaker 11: Is that challenging to to do?

778
00:40:38,679 --> 00:40:41,480
Speaker 12: Like those layered vocals where you're kind of harmonizing with

779
00:40:41,519 --> 00:40:42,880
yourself or does that come easy?

780
00:40:43,079 --> 00:40:46,880
Speaker 9: It can be. That's something I noticed too and growing

781
00:40:46,920 --> 00:40:49,039
up in the theater and I did. Course, Yeah, I

782
00:40:49,159 --> 00:40:51,199
was a kid too, so that helps me in terms

783
00:40:51,239 --> 00:40:53,960
of being able to hear it. But yeah, when it's

784
00:40:54,000 --> 00:40:58,199
your own voice and and it's it's kind of funky, uh.

785
00:40:58,239 --> 00:41:01,719
So that it was nice. When I was down at Blackbird,

786
00:41:01,440 --> 00:41:03,920
I was able to hire a background vocalist and she

787
00:41:04,000 --> 00:41:05,960
came in and I swear it only took her like

788
00:41:05,960 --> 00:41:08,320
five minutes and it's not an easy song to sing.

789
00:41:08,599 --> 00:41:09,920
I'm in there all day, like, oh am, I gonna

790
00:41:09,960 --> 00:41:13,679
do this. And then her name was Marcia, and she

791
00:41:13,920 --> 00:41:18,079
was just just like just this beautiful, bright, bubbly energy

792
00:41:18,119 --> 00:41:21,280
that I needed day. But she just sang was that.

793
00:41:21,960 --> 00:41:24,800
I'll never forget what she said too. She's like, wow, girl,

794
00:41:24,840 --> 00:41:26,119
this is a barn burner.

795
00:41:26,320 --> 00:41:28,039
Speaker 11: Oh that's school. That's cool.

796
00:41:28,159 --> 00:41:31,360
Speaker 9: I will never forget that. Yeah, but it was nice

797
00:41:31,400 --> 00:41:34,719
to hear that difference too, And it's it. I would

798
00:41:34,800 --> 00:41:37,599
like to like it's I can do it myself, but

799
00:41:37,760 --> 00:41:39,719
I feel like it adds a different element and a

800
00:41:39,760 --> 00:41:41,840
different sound and gives it more of a quality to

801
00:41:41,880 --> 00:41:43,920
it when you have a contrasting tone or what it's

802
00:41:44,000 --> 00:41:44,519
kind of similar.

803
00:41:44,800 --> 00:41:46,920
Speaker 11: Yeah, yeah, no doubt.

804
00:41:48,599 --> 00:41:52,199
Speaker 12: Now are these all on an album that's available or what?

805
00:41:52,360 --> 00:41:52,440
Speaker 4: So?

806
00:41:52,800 --> 00:41:55,920
Speaker 9: No, I actually have been releasing single by single, okay,

807
00:41:56,239 --> 00:41:59,760
because I really being new to it and just not

808
00:42:00,039 --> 00:42:02,039
sure of where it was going or what I wanted

809
00:42:02,039 --> 00:42:05,519
to do. I wanted to just like give each song

810
00:42:05,840 --> 00:42:11,000
sole focus. Yeah so far, But actually I just recently

811
00:42:11,320 --> 00:42:14,119
finished recording. It still needs to be mixed and master

812
00:42:14,199 --> 00:42:17,039
and all that. My first collection of songs in a

813
00:42:17,039 --> 00:42:21,119
three song EP, okay, and that was that was interesting

814
00:42:21,119 --> 00:42:23,360
to do because I haven't done that yet, working on

815
00:42:23,440 --> 00:42:27,360
a collection of music and keeping like a similar sound, yeah,

816
00:42:27,639 --> 00:42:31,519
and stories and such. But yeah, the song by song

817
00:42:31,559 --> 00:42:34,360
I think was a good choice for me, just being

818
00:42:35,320 --> 00:42:38,039
not knowing who I was as an artist yet.

819
00:42:38,000 --> 00:42:38,639
Speaker 11: That makes sense.

820
00:42:39,079 --> 00:42:41,800
Speaker 12: Yeah, And you know, we again, we live in a

821
00:42:41,840 --> 00:42:45,280
time where you know, you've got different options in terms

822
00:42:45,320 --> 00:42:47,159
of like when I was growing up, it was, you know,

823
00:42:47,280 --> 00:42:49,880
somebody would put out an album and usually there would

824
00:42:49,880 --> 00:42:52,199
be a single for the album that would go to radio,

825
00:42:52,559 --> 00:42:55,039
usually six eight weeks before the album was coming out,

826
00:42:55,280 --> 00:42:58,119
and then the album would come out, and then subsequent

827
00:42:58,239 --> 00:43:01,039
singles would come out. And that was just the standard

828
00:43:01,039 --> 00:43:03,920
way of doing it. Whereas now you know, you can

829
00:43:03,960 --> 00:43:05,559
do it any way you want to, like a lot

830
00:43:05,559 --> 00:43:07,840
of a lot of guests that we have on the show,

831
00:43:07,880 --> 00:43:09,239
do it the way you're doing it, where you know,

832
00:43:09,320 --> 00:43:11,960
you have a series of singles and maybe eventually those

833
00:43:11,960 --> 00:43:14,239
singles become an EP or an album or maybe not.

834
00:43:14,559 --> 00:43:17,960
Speaker 9: But yeah, there was something interesting actually that Bennie told

835
00:43:18,000 --> 00:43:19,960
me from the underground. He's like, have you ever heard

836
00:43:19,960 --> 00:43:21,159
of the Waterfall release?

837
00:43:21,480 --> 00:43:22,400
Speaker 11: The Waterfall effect.

838
00:43:22,599 --> 00:43:27,440
Speaker 12: Yeah, oh, Temple Mountain. You know, he was on last

839
00:43:27,480 --> 00:43:29,480
week and he was talking about that because that that's

840
00:43:29,480 --> 00:43:31,320
been his approach to Yeah, and.

841
00:43:31,400 --> 00:43:34,960
Speaker 9: It seems to work for people. But in our constantly

842
00:43:35,039 --> 00:43:39,320
changing music industry and especially with the way people consume

843
00:43:39,360 --> 00:43:44,519
their music, I think to releasing song by song it

844
00:43:44,519 --> 00:43:50,199
gives more life to each to each song and and

845
00:43:50,280 --> 00:43:52,480
not something for people to look forward to and stay

846
00:43:52,760 --> 00:43:55,599
stay connected with. You release all those songs at once,

847
00:43:55,719 --> 00:43:58,400
like that moment's over. You can kind of acceend that

848
00:43:58,400 --> 00:44:01,760
that's true when you release song by song. Yeah, because

849
00:44:01,840 --> 00:44:05,000
especially as as someone like me who's also writing music

850
00:44:05,079 --> 00:44:08,360
and trying to become a recording artist as well, building

851
00:44:08,360 --> 00:44:11,880
that community and keeping those my followers and my fans

852
00:44:11,920 --> 00:44:15,760
engaged and just and wanting to hear more. So I

853
00:44:15,760 --> 00:44:18,400
think it's been it's been working so far. But I'm

854
00:44:18,480 --> 00:44:21,119
really intrigued by that Waterfall release and here I might

855
00:44:21,239 --> 00:44:21,840
utilize that.

856
00:44:22,199 --> 00:44:26,760
Speaker 11: Yeah. Yeah, absolutely. The time goes so fast.

857
00:44:26,960 --> 00:44:30,480
Speaker 12: So what's what's kind of your uh what do you

858
00:44:30,519 --> 00:44:33,000
see as sort of the long term trajectory or do

859
00:44:33,079 --> 00:44:34,639
you know, like do you have kind of a plan

860
00:44:34,719 --> 00:44:37,039
in terms of uh, are you are you going to

861
00:44:37,159 --> 00:44:39,039
or maybe I don't know if you're done a national.

862
00:44:38,719 --> 00:44:39,840
Speaker 1: Tour or no.

863
00:44:40,119 --> 00:44:43,760
Speaker 9: But I would love even I it's it's just around

864
00:44:43,960 --> 00:44:48,679
New England, just to go out perform some shows singer

865
00:44:48,760 --> 00:44:51,920
songwriter style, just me and my guitar and tell my stories.

866
00:44:53,559 --> 00:44:58,079
But my my alsomate goal, Like I I just I

867
00:44:58,159 --> 00:45:01,239
just love being in the studio and created and I've

868
00:45:01,280 --> 00:45:04,079
always wanted to look into what it would be like

869
00:45:04,159 --> 00:45:06,400
to write for other people as well, because I just

870
00:45:06,440 --> 00:45:10,880
love writing and creating and being in that process, like

871
00:45:10,960 --> 00:45:15,920
being in the spotlight is not really what I want necessarily.

872
00:45:16,280 --> 00:45:19,480
I just want to create the music and create something meaningful. Okay,

873
00:45:19,960 --> 00:45:23,519
So because it's it's so funny and it feels weird

874
00:45:23,559 --> 00:45:27,159
to say this, but if I didn't have to perform again,

875
00:45:27,199 --> 00:45:29,039
I'd be okay with that. But as long as I

876
00:45:29,079 --> 00:45:31,480
have my studio and I can write my music and

877
00:45:31,639 --> 00:45:35,239
just play my guitar, happy because it's what we were

878
00:45:35,239 --> 00:45:37,880
talking about. It's so nerve wracking and like, but for

879
00:45:37,920 --> 00:45:40,000
some reason, I have to keep doing it. It's like

880
00:45:40,039 --> 00:45:44,199
a calling and I can't. I can't be a songwriter

881
00:45:44,239 --> 00:45:46,480
without performing. So it's like kind of you gotta do

882
00:45:46,519 --> 00:45:47,280
it's hand in hand.

883
00:45:47,400 --> 00:45:50,199
Speaker 12: Yeah, yeah, well yeah, and it's working for you. It's

884
00:45:50,280 --> 00:45:55,719
it's uh, it's definitely working. Have you You mentioned earlier too,

885
00:45:55,800 --> 00:45:59,119
because you know our audience, we know this industry, people

886
00:45:59,119 --> 00:46:01,000
who listen. There's also a lot of musicians who are,

887
00:46:01,480 --> 00:46:03,719
you know, trying to make their way. Do you have

888
00:46:03,760 --> 00:46:06,639
any advice for someone because you've been able to really

889
00:46:07,039 --> 00:46:09,400
make some leaps and bounds in a short time, do

890
00:46:09,440 --> 00:46:11,760
you have any advice for someone who's maybe starting out,

891
00:46:11,800 --> 00:46:13,880
maybe a singer songwriter starting out.

892
00:46:14,480 --> 00:46:16,960
Speaker 9: The worst thing you can do is compare yourself to

893
00:46:17,280 --> 00:46:19,880
those around you. Like we were saying earlier, it's not

894
00:46:19,960 --> 00:46:25,119
a comparison. Use it as a learning experience. You are

895
00:46:25,199 --> 00:46:27,679
your own person. You have your own perspective in your

896
00:46:27,679 --> 00:46:32,599
own voice, So trust that that's enough. I didn't at first,

897
00:46:32,719 --> 00:46:36,079
and it's hard to ignore all the noise, so to

898
00:46:36,119 --> 00:46:41,000
say sure, but also just forcing yourself to do it.

899
00:46:41,039 --> 00:46:43,360
If you're scared of something, you should probably go and

900
00:46:43,400 --> 00:46:47,440
do that thing because that's going to bring you further.

901
00:46:48,519 --> 00:46:52,079
I remember I couldn't even keep my hands still when

902
00:46:52,079 --> 00:46:54,000
I was playing my guitar. But I'm like, I'm doing

903
00:46:54,000 --> 00:46:56,400
it because you cannot get better if you don't do it.

904
00:46:56,519 --> 00:46:58,840
So I think the biggest thing that helped me was

905
00:46:58,920 --> 00:47:02,800
just forcing myself into those difficult situations, figuring it out

906
00:47:02,800 --> 00:47:05,239
in the moment. And although I may not have believed

907
00:47:05,239 --> 00:47:07,599
in myself, just at least trying to find a little

908
00:47:07,599 --> 00:47:11,800
bit belief. So do the hard things and and just

909
00:47:12,159 --> 00:47:13,880
do the best you can at the end of the day,

910
00:47:13,920 --> 00:47:16,960
that's all you can do. Just do something, move the goalpost,

911
00:47:17,000 --> 00:47:18,119
even if it's just a little bit.

912
00:47:18,280 --> 00:47:21,800
Speaker 12: Yeah, yeah, I think that's great advice. Yeah, absolutely, absolutely.

913
00:47:23,400 --> 00:47:25,440
And where should people go online to keep up with

914
00:47:25,480 --> 00:47:26,400
everything that you're doing?

915
00:47:26,559 --> 00:47:29,239
Speaker 9: So I have a website Rebecca Turmel dot com, but

916
00:47:29,320 --> 00:47:34,039
you can find me on Facebook and Instagram and if

917
00:47:34,079 --> 00:47:36,559
you want to see me before my mom bands intown too, so,

918
00:47:36,639 --> 00:47:39,039
which is a great website. Alert see in your area.

919
00:47:39,079 --> 00:47:40,320
Speaker 11: I love that absolutely.

920
00:47:41,199 --> 00:47:43,920
Speaker 9: But I'm all around. I'm actually we'll be at an

921
00:47:43,960 --> 00:47:47,719
Oddball brewing tonight in Pembrooke or Suncook for the first time.

922
00:47:47,840 --> 00:47:49,199
Speaker 11: Okay, So I'm all over.

923
00:47:49,320 --> 00:47:51,800
Speaker 9: I try I play. I play a lot in New Hampshire,

924
00:47:52,639 --> 00:47:55,239
but I'm in mass in Vermont sometimes as well. Yeah,

925
00:47:55,320 --> 00:47:57,159
I'll go where old they'll let me sing with my guitar.

926
00:47:57,360 --> 00:48:00,800
Speaker 12: Yeah, yeah, where's the furthest you've gone as far as

927
00:48:00,960 --> 00:48:02,280
playing shows.

928
00:48:02,440 --> 00:48:04,599
Speaker 9: I mean I've played down in Florida that was moartest

929
00:48:04,599 --> 00:48:09,519
because on vacation, but in this area by Portland's probably

930
00:48:09,519 --> 00:48:14,320
the farthest. Yeah, actually, because now I've been Killington that's

931
00:48:14,360 --> 00:48:16,679
pretty part. That's pretty far too in terms of where

932
00:48:16,719 --> 00:48:19,440
I'm located. Yeah, but probably the farthest I've driven is

933
00:48:19,480 --> 00:48:20,559
three hours for a show.

934
00:48:20,760 --> 00:48:21,000
Speaker 11: Yeah.

935
00:48:21,199 --> 00:48:23,679
Speaker 9: Yeah, And I think that's something too that that helps

936
00:48:23,760 --> 00:48:26,119
me get a little bit farther. Is I just I

937
00:48:26,159 --> 00:48:27,960
didn't care how long I had to drive where I

938
00:48:27,960 --> 00:48:30,480
had to go, So if I had the gig opportunity

939
00:48:30,559 --> 00:48:33,800
again getting that experience, that helped me out tremendously. Am

940
00:48:33,800 --> 00:48:36,000
I I'll take it, I'll drive, I can do it.

941
00:48:36,599 --> 00:48:36,760
Speaker 10: Well.

942
00:48:36,760 --> 00:48:38,639
Speaker 12: That reminds me of what, you know, we had a

943
00:48:38,679 --> 00:48:41,760
Frank Allagher played a Plague Dad rather on with us

944
00:48:42,000 --> 00:48:43,760
during the first hour. You know, he's from Portland and

945
00:48:44,079 --> 00:48:46,800
he was saying, uh, yeah, I just you know, play

946
00:48:46,800 --> 00:48:49,960
out as much as possible, which is which is interesting

947
00:48:50,000 --> 00:48:52,159
too because some some people it tends to be more

948
00:48:52,280 --> 00:48:55,920
so people in bands, people in like four piece rock

949
00:48:55,960 --> 00:48:59,079
bands who say yeah, you actually don't want to play

950
00:48:59,079 --> 00:49:02,559
out too much because you oversaturating. But but I I

951
00:49:02,599 --> 00:49:04,760
always when I used to play, I always just wanted

952
00:49:04,760 --> 00:49:06,519
to play as much as I possibly could, you know,

953
00:49:06,599 --> 00:49:09,599
that was my That was my kind of ethos about it.

954
00:49:09,679 --> 00:49:11,360
Just just get out there and play as much as

955
00:49:11,360 --> 00:49:13,159
you can. I mean, I think you know, if you're

956
00:49:13,199 --> 00:49:15,760
playing the same if you're playing the same bar every

957
00:49:15,800 --> 00:49:18,599
single week or something, you can oversaturate. But yeah, but

958
00:49:18,679 --> 00:49:21,239
you also want the experience and and you know, and

959
00:49:21,239 --> 00:49:24,440
and seize every opportunity to uh, you know, to get

960
00:49:24,480 --> 00:49:27,239
out there. And and because it's not the other thing

961
00:49:27,280 --> 00:49:29,599
too that I think some people miss is it's not

962
00:49:29,679 --> 00:49:32,320
just about being in front of audiences. It's also about

963
00:49:32,320 --> 00:49:33,400
making those connections.

964
00:49:33,440 --> 00:49:33,639
Speaker 11: You know.

965
00:49:33,920 --> 00:49:37,199
Speaker 12: You might go play to a room where there's only

966
00:49:37,239 --> 00:49:38,880
a couple of people there, but one of those couple

967
00:49:38,960 --> 00:49:40,960
of people might also be a musician, and they might

968
00:49:41,000 --> 00:49:43,079
also they might be interested in what you're doing, or

969
00:49:43,079 --> 00:49:45,320
they might do something else in the scene, you know,

970
00:49:45,400 --> 00:49:47,000
and they want to connect with you. And so there's

971
00:49:47,039 --> 00:49:51,119
always opportunities, and you know, you miss all those opportunities

972
00:49:51,159 --> 00:49:51,920
if you don't take them.

973
00:49:52,000 --> 00:49:54,000
Speaker 9: Yeah, and you you never know who's going to be

974
00:49:54,360 --> 00:49:57,599
in the crowd yep, I never if there is a

975
00:49:57,679 --> 00:50:00,280
venue that reach I always tried to play each place

976
00:50:00,320 --> 00:50:06,039
that reaches out to me, despite like maybe other judgments

977
00:50:06,079 --> 00:50:08,199
people have, like about the room or whatever. I always

978
00:50:08,239 --> 00:50:11,760
try to get my own opinion. I think everybody it

979
00:50:11,800 --> 00:50:15,800
deserves the benefit of the doubt. But it you just

980
00:50:15,960 --> 00:50:18,199
you never know who's going to be there. Actually, this

981
00:50:18,280 --> 00:50:22,280
past summer I was playing at Shopper's Pub in Manchester

982
00:50:22,559 --> 00:50:26,800
and Godsmack's guitar tech and manager we're eating dinner. I

983
00:50:26,920 --> 00:50:29,920
was playing and he ended up giving me VIP passes

984
00:50:29,960 --> 00:50:33,599
to go see the show and I'm just as pub

985
00:50:34,679 --> 00:50:35,280
is so cool.

986
00:50:35,440 --> 00:50:39,559
Speaker 12: Yeah, you just never know. You just never know. Well, Rebecca,

987
00:50:39,679 --> 00:50:42,679
thank you so much. Rebecca Turmel here with us in

988
00:50:42,760 --> 00:50:45,280
studio this morning. This has been wonderful. In a moment,

989
00:50:45,360 --> 00:50:47,920
we'll uh, we'll we'll close out with the road song,

990
00:50:48,519 --> 00:50:51,559
But thank you and Jenny. Do you want to plug

991
00:50:51,599 --> 00:50:53,119
your website and anything else you want to mention?

992
00:50:53,639 --> 00:50:56,840
Speaker 16: Absolutely, you can come check me out at Gencoffee dot com.

993
00:50:56,960 --> 00:50:59,760
J E N N C O F f uy dot com.

994
00:51:00,000 --> 00:51:02,280
We don't forget to check out the Mosaic are collective

995
00:51:02,280 --> 00:51:06,639
here in the Queens City. The Spellbound Yes is still

996
00:51:06,760 --> 00:51:11,280
up and the announcement will come tomorrow on who's going

997
00:51:11,360 --> 00:51:15,159
to be in the many miniatures. All the art coming

998
00:51:15,239 --> 00:51:17,559
up in the next show is below a twelve times

999
00:51:17,599 --> 00:51:19,960
twelve by twelve size.

1000
00:51:20,039 --> 00:51:22,840
Speaker 11: Well it's little little, little little little pieces.

1001
00:51:22,920 --> 00:51:26,280
Speaker 16: Yeah, masterpieces. Yeah, I'm excited to see what that brings.

1002
00:51:26,440 --> 00:51:30,639
Speaker 11: Yes, Yes, all right, very good, very good. So thank

1003
00:51:30,679 --> 00:51:31,800
you to everybody who joined us today.

1004
00:51:31,800 --> 00:51:33,320
Speaker 12: If you miss any part of today's show, it will

1005
00:51:33,360 --> 00:51:36,320
be up in just a little bit at wmnhradio dot

1006
00:51:36,480 --> 00:51:39,480
orgon on my website Matt Connerton dot com.

1007
00:51:39,519 --> 00:51:42,920
Speaker 11: And we will leave you with the Road song and

1008
00:51:43,639 --> 00:51:45,440
anything we should know about this one before we play it.

1009
00:51:45,480 --> 00:51:48,159
Speaker 9: Rebecca, So this song, it's fitting we're ending on it,

1010
00:51:48,760 --> 00:51:51,320
especially after everything we talked about. This is like my

1011
00:51:51,360 --> 00:51:54,360
homage to all my other full time musicians out there.

1012
00:51:54,480 --> 00:51:55,039
Speaker 11: Oh cool.

1013
00:51:55,159 --> 00:51:57,559
Speaker 9: And this is a song that I wrote with Jimmyeger

1014
00:51:57,639 --> 00:52:00,119
and probably the one I'm most proud of so far.

1015
00:52:00,199 --> 00:52:03,199
We actually have Jackson Brown's guitarist b McCollum on this track,

1016
00:52:03,280 --> 00:52:07,199
Oh Vermont, and I said it just captured the essence

1017
00:52:07,239 --> 00:52:08,719
of the Road and he sure did so.

1018
00:52:08,960 --> 00:52:11,480
Speaker 12: Oh, very cool, very cool, perfect way to end all

1019
00:52:11,559 --> 00:52:13,000
right here it is Rebecca Turmel.

1020
00:52:13,159 --> 00:52:14,840
Speaker 11: This is called the road sign.

1021
00:52:27,400 --> 00:52:30,159
Speaker 3: Drivingly. It's not in them thinking.

1022
00:52:32,320 --> 00:52:38,360
Speaker 8: What it brought me to this place so far, single

1023
00:52:38,360 --> 00:52:44,639
foot people eating and drinking, they put them money in

1024
00:52:44,840 --> 00:52:56,199
my job. Life gets only on the road townisal Mom.

1025
00:52:59,400 --> 00:53:04,039
Speaker 6: And life kill the lights m mody heading normand night

1026
00:53:04,519 --> 00:53:05,639
my artist spraying.

1027
00:53:05,719 --> 00:53:06,480
Speaker 3: I see that.

1028
00:53:08,400 --> 00:53:08,800
Speaker 4: Out on.

1029
00:53:15,199 --> 00:53:20,960
Speaker 8: I had no choice in music shows me and once

1030
00:53:21,079 --> 00:53:28,480
it did not go emphatic. I guess there's many sacrifice it.

1031
00:53:31,000 --> 00:53:33,719
Speaker 1: But once again it's time to pack.

1032
00:53:36,719 --> 00:53:42,840
Speaker 6: Head and NodD on down the road, down and down

1033
00:53:43,039 --> 00:53:51,000
around Mom, I don't and they've killed the lights umbodying

1034
00:53:51,519 --> 00:53:52,199
Armen Night.

1035
00:53:52,519 --> 00:53:58,639
Speaker 3: My heartiest spray and I seen that so I gets

1036
00:53:58,719 --> 00:53:59,719
only on the.

1037
00:54:03,360 --> 00:54:10,280
Speaker 5: Moun realm b you know when they've killed the lights.

1038
00:54:11,000 --> 00:54:15,119
I'm family heading Holly night, the ardest free.

1039
00:54:14,960 --> 00:54:16,599
Speaker 1: And I see bas.

1040
00:54:17,760 --> 00:54:40,320
Speaker 3: Out life gets lonely on the road.

1041
00:54:43,400 --> 00:54:49,239
Speaker 15: Town and town and realm Boma, you know when they've

1042
00:54:49,400 --> 00:54:50,199
killed the lights.

1043
00:54:51,039 --> 00:54:53,639
Speaker 1: I'm findly head in honly night.

1044
00:54:53,920 --> 00:55:00,199
Speaker 3: My heartiest free and I seen bas a mamas a.

1045
00:55:00,400 --> 00:55:01,639
Speaker 1: Bad honor roll.

1046
00:55:04,719 --> 00:55:06,480
Speaker 3: Else taking a b.

1047
00:55:09,639 --> 00:55:13,599
Speaker 17: And know when they felled the lights, Bobby had.

1048
00:55:13,639 --> 00:55:17,920
Speaker 5: In Bonie night my honest bringing us seen by love.

1049
00:55:19,119 --> 00:55:30,480
Speaker 17: Your own room, your own room, your own.

1050
00:55:30,559 --> 00:55:42,559
Speaker 1: Room, your old room, you know.

1051
00:55:52,400 --> 00:55:53,400
Speaker 17: Your room.

1052
00:55:56,400 --> 00:56:13,880
Speaker 4: You we up the tier on overnight.

1053
00:56:14,159 --> 00:56:21,960
Speaker 18: Get a part that nob womal dog something I will

1054
00:56:22,199 --> 00:56:24,800
spy five days.

1055
00:56:25,039 --> 00:56:26,719
Speaker 19: A funny bok dog.

1056
00:56:30,400 --> 00:56:31,400
Speaker 4: Your dum.

1057
00:56:33,480 --> 00:56:34,760
Speaker 17: Nom no better.

1058
00:56:37,840 --> 00:56:39,840
Speaker 1: Speak up the weeks.

1059
00:56:39,559 --> 00:56:48,119
Speaker 4: Thus head, I don't know, get it, set it dirt room, dead.

1060
00:56:47,960 --> 00:56:53,039
Speaker 14: It, dirt room, Captain Shard.

1061
00:56:53,480 --> 00:56:57,320
Speaker 17: And dob Di down home? Did it.

1062
00:57:05,760 --> 00:57:05,960
Speaker 4: Right?

1063
00:57:06,000 --> 00:57:07,679
Speaker 14: A night of fe fide?

1064
00:57:08,800 --> 00:57:10,679
Speaker 4: Where the fall town is there?

1065
00:57:15,199 --> 00:57:19,719
Speaker 20: I'm wet I turf you don't want haven't read it?

1066
00:57:24,559 --> 00:57:29,960
That is a window, don't we haven't like any week?

1067
00:57:32,119 --> 00:57:35,559
Speaker 14: Where does the time go down?

1068
00:57:35,760 --> 00:57:36,880
Speaker 8: All the dead.

1069
00:57:38,199 --> 00:57:39,360
Speaker 4: Dead in turn.

1070
00:57:41,880 --> 00:57:48,760
Speaker 20: Deadur well with death tives haven't to do?

1071
00:57:49,239 --> 00:58:25,039
Speaker 10: Night down all the dead dirt ride dash for lights.

1072
00:58:25,440 --> 00:58:28,519
Speaker 8: I could say my world is your ride.

1073
00:58:31,719 --> 00:58:33,880
Speaker 4: Yore d.

1074
00:58:39,559 --> 00:58:58,760
Speaker 14: Yo wrong around by des do would never go back.

1075
00:59:19,559 --> 00:59:23,599
Speaker 19: Your kitchen to life with Queen City Cabinetry located at

1076
00:59:23,679 --> 00:59:27,840
eighty seven Elm Street in the historic Sunbeam Mall in Manchester,

1077
00:59:28,320 --> 00:59:31,599
open Monday through Friday nine am to five thirty pm,

1078
00:59:31,920 --> 00:59:35,440
in Saturdays ten am to two pm. They can be

1079
00:59:35,599 --> 00:59:39,440
reached at six oh three two two two to zero

1080
00:59:39,639 --> 00:59:44,039
zero seven, or on the web at Queen citycabinetrey NH

1081
00:59:44,599 --> 00:59:45,119
dot com.

1082
00:59:45,519 --> 00:59:46,960
Speaker 11: Come see the possibilities.

1083
00:59:47,159 --> 00:59:51,599
Speaker 19: Queen City Cabinetry another proud sponsor of w MNH