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Speaker 1: WMNH will rip the doubles.

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Speaker 2: Fifty something years now, going up and smoke twenty thousand

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days behind.

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Speaker 3: It's just a couple more to do, and it's alright,

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it's alright.

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Speaker 2: Gotta have a little face.

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Speaker 4: Could have seen it coming somewhere down the line, buried

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in some double helics underneath ourselves a bat But it's alright.

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Speaker 2: It's all right. Everything is in its leg.

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Speaker 5: Seems so to me.

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Speaker 6: Nothing could have changed.

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Speaker 7: Seems so mad to me, nothing.

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Speaker 6: Could have play.

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Speaker 8: Hearts are feeling heavy, bodies get week, we will waste

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away together, fade into that sweet rely, It's.

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Speaker 2: All right, it's alright, gotta have a little space.

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Speaker 7: Seems so clear to me.

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Speaker 6: Nothing could have changed, so cud, nothing couldn't lay.

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Speaker 2: Who's us on the mountain? All upon the road I've been.

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Speaker 9: Reaching down to holding me up and bear this heavy though.

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It's all right, it's all right, everything is in its place.

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It's alright, it's all right.

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Speaker 2: I'm an.

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Speaker 5: Same So jeez, chang seems so hmmm.

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Speaker 10: I really like that a lot. That it's called a

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couple more to go. That is Ian Gallipo, who is

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here with us alive in studio and We're gonna talk

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in just a moment, but welcome back everybody. We have

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entered our number two New Marrow dose of Matt Connorton Unleashed.

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We are live from the studios of w m n

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H ninety five point three FM and Glorious Manchester, New Hampshire,

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and of course you can stream the show at Matt

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connorton dot com slash Live. Today is Saturday, March first,

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twenty twenty five. Jenny is here at the news table

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present account of bar and we have Ian Gallipo here

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with us. Welcome in. Oh, I can't hear you, and

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I need to figure out why. Actually that's strange that

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Mike should be on. Yeah, can you bounce over to

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that that chair please. I don't know why that's not working.

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That's weird. I'm not getting anything out of it. Okay,

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let's we'll try We'll try that one. Oh, I can

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hear you bet Yeah, yeah, awesome, excellently, you sound great. Yeah,

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that's weird that that mic isn't working at all. That's

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that's really strange. I'll have to look at it afterward.

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But uh, so welcome. Uh your music has actually been

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featured on the show before by the way we should say,

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because you, of course are in the band Modern Fools.

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Speaker 11: I am in the band Modern Fools.

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Speaker 10: You were not here for the for the interview. But

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but but so we have played your music before. I'm

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gonna just that just that camera there too for people

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watching online so they can see you. But no, but

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I I love your I love I love Modern Fools,

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but I love your solo stuff too. That is such

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a great track. A couple more to go. Really really

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like that. Where did you record that?

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Speaker 11: It's entirely recorded at home?

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Speaker 10: Oh?

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Speaker 11: No kidding, Yeah, yeah, I've got a home studio set up.

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Did the entire album in my in my studio room.

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Speaker 10: Oh that's incredible. It sounds like it was done in

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a million in a million dollars studio. It really does,

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it really does. But it's you know, it's it's remarkable.

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We talk a lot about uh technology, of course, as

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we were as we were in the previous segment, and

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you know, we live in a time where you can

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really get an amazing recording out of a home studio.

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I'm old enough to remember when your only real option

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was I go to a studio and pay a lot

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of money, or if you were gonna stay at home.

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I don't know if you've ever seen one of those

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little task scam recorded? Is that what you started on yet? Okay, okay,

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So now though, I mean it's it's incredible what you

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can do.

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Speaker 11: And oh it's amazing. Yeah, I mean all of the

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the DAW's I work in logic. But you know your

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home studio setup, you can there are professional albums rights.

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Whole first album was recorded in the basement. I didn't

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know that Church is a home recording.

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Speaker 10: Oh I didn't. I had no idea. I did not

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know that. So do you do everything on the album?

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Are you? Are you playing everything?

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Speaker 11: And I play everything?

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Speaker 10: Oh that's incredible.

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Speaker 11: Drums, keyboards, guitars, bass.

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Speaker 10: Yeah, oh that's fantastic. Good for you, Good for you.

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And that makes it easier too, in the sense that

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I mean, well, I mean it's not easier in the

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sense that it's a lot of work, right, but but

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you get to create your vision of what you wanted

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to sound like without anybody kind of messing it up.

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Speaker 11: Right, Yeah, Oh for sure. Yeah, it's it's it's an

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interesting process, right, doing it all yourself. It was. I

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had a release show this past weekend, right. The album

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came out of the twenty second and I had a

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release show with a full band, and it was so

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cool to hear these songs come to life, like these

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arrangements that I'd played one piece at a time. Yeah,

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played by a five piece band with me was was

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pretty special.

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Speaker 10: Yeah. When when that happens, though, is it because obviously

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it's great to hear them come alive, But is there

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any part of you that is nervous about what if

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they don't sound exactly like how I want? Or are

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you able to just let that go and just enjoy?

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Because in a sense, who is kind of an adventure?

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Speaker 12: Right?

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Speaker 11: Who?

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Speaker 10: How are these going to sound with other musicians playing

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them with me?

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Speaker 11: It's certainly an adventure. Yeah, And I trusted the musicians

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I was working with. Yeah, I picked these five people

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specifically because I trust their taste and their vision. Whether

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they're going to play exactly the part that I wrote,

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whatever they come up with modification of that, he's going

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to be interesting.

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Speaker 10: Yeah.

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Speaker 11: Good. I didn't just find guys on Craigslist to play

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the songs with, Like that would be nerve wrecking.

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Speaker 10: Yeah, that would be, no doubt, no doubt, any members

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of Modern Fools who played them with you.

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Speaker 11: Yeah. One member of Modern Fools came, the guitarist John

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who you met a few months ago. Okay, he came

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and played and I played with those guys all the time. Yeah.

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He specifically did not want the Ian Gallipo and the

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Modern Fools release show, right, so I had to limit

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limit the band to maybe one member.

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Speaker 10: No, that makes sense, that makes sense. Who else were

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other people that we would know from other bands who

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played with you that for that show?

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Speaker 11: Or you might know one name Ethan McBrien. He's the

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frontman of the band Party of the Sun.

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Speaker 10: Okay, yeah, I don't think we've ever had Party of

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the Sun on the show, but I am familiar with

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the band.

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Speaker 11: Yeah, yeah, okay, he played bass. Very cool bass player. Yeah,

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for a band that doesn't have a bass player, he's

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a fantastic bass player.

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Speaker 10: Oh that's awesome. So what in terms of playing live

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your solo material, what's what's the plan going forward? Do

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you plan to do that again or or are you

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planning to play out with your solo I mean, obviously

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Modern Fools keeps you kind of busy too.

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Speaker 11: Modern Fools keeps me plenty busy. Yeah, I play all

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of these songs as a not all of the ones

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on this album, but I'm a solo performer predominantly. Yeah,

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this whole album is different for me. I composed all

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these songs on piano, oh wow, which is not an

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instrument that I normally play. Have been a guitar for

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twenty years. I picked up piano a little bit during COVID. Yeah,

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and writing on piano was different. So now I've adapted

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most of these songs to work on guitar, which I'm

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excited about sharing them in that way. Yeah. I don't

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know how much band performance I'm going to do, just

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because there's a lot of logistics. Right, Being in modern

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fools is enough. Yeah, Band relationships are complicated. Yeah, and

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I think the songs carry They're different, but it was

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fun to do them with a band. For sure. I

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absolutely would in the right context, but it's not something

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I want to pursue, like we need to be playing

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four or five shows a month. Yeah, band, it's too much.

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Speaker 10: So your solo material, you're comfortable just you and a guitar,

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I assume, or are you or do you ever bring

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a keyboard?

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Speaker 11: I never bring a keyboard. I anything that I've written

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on a keyboard, I've figured out some way to play

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it on guitar or not play it at all.

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Speaker 2: Yeah.

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Speaker 10: Are there songs that you've had to say this one

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doesn't translate to guitar well enough, and I'm not going

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to play this one, or you ever run into.

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Speaker 11: That, or yeah, there are a couple on this don't work.

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Speaker 10: Yeah, don't work in terms of does the vibe just

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completely change.

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Speaker 11: Or yeah, the vibe is too different, or I'm just

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not technical enough to do exactly like I can do

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something close usually, Yeah, but some of it's really dependent

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on the bounce of a piano. Yeah, doing the same

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chug on a guitar sounds right right different?

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Speaker 10: That makes sense. Yeah, that makes sense. Now, what about

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the so on the album? What about the drums?

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Speaker 11: Are those live drums or are they programmed or it's

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all programmed or you know, it's all sampled. A lot

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of it. I've played on a keyboard, yeah, as a drummer,

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and then I've got to write an electronic drum set

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that plugs in for me as well.

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Speaker 10: Oh okay, great. Yeah, that's something that's changed a lot

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too over the years. Technologically, the advances with that because

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I like, I remember I remember being a kid and

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having a keyboard with drum sounds on it, but they

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they sounded so fake.

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Speaker 11: Oh, they sound so fake.

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Speaker 10: And then you know, and there were also these programmable

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these standalone programmable Drumshe means that some of them, like

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you could get a realistic sounding The problem with those,

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again this is going back many years, but the problem

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with those was you could get a really realistic sounding snare,

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but the toms would always sound terrible and the symbols

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would sound even worse. Yeah, But but now it's it's

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remarkable what you can do.

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Speaker 11: Oh, it's unbelievable. What maybe I mean? Uh, the guys

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in my band were like, where'd you record these drums? Yeah, like, no, no,

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there are a couple of obviously electronic pieces in there. Yeah,

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but the ones that are acoustic are well sampled. Yeah,

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they've got that full dynamic range and you really it's

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hard to tell unless you know, not real drums.

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Speaker 10: Yeah. Oh that's fantastic. Yeah, it's uh, that's a great compliment,

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right when somebody says to you, hey, where you know,

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where'd you record these drums? Yeah? That's great, that's great.

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How is your is your approach to songwriting different as

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a solo artist versus with Modern Fools, or because I

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don't know if with solo stuff, is that all self

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written or do you collaborate with other writers?

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Speaker 2: Oh?

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Speaker 11: Yeah, great question. I love collaborating with people. Yeah, everything

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on this record I wrote, and most of my co

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writes in in my life have been for the other artist. Okay,

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but there's a handful of songs that I wrote with

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other people, that I've written with John from Modern Fools

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that we that I play soul artists. As far as

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Modern Fools, almost all of that is written by Josh,

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the singer. I've I've tweaked some lyrics here and there,

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but it's we're working towards collaborative writing. It's just a

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it's a stretch anytime. There's a lot of vulnerability when

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you write with somebody. Yes, and it's yeah, Josh and

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I are working towards that.

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Speaker 10: Yeah. No, that's very cool, that's very cool. How many? So,

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how many songs have you recorded? Just as as Ian Gallipo,

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Because from what I looked at on band camp, it

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looks like you've you've got quite a bit of solo material.

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Speaker 11: There's a decent amount of souloal, I think there's fifty

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or so on on streaming.

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Speaker 10: Oh that's even more than I realized. Wow, oh that's

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quite a bit.

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Speaker 11: There's two full albums, a couple of epe's, a bunch

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of singles, there's there's this a good volume of of

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solo material.

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Speaker 10: Yeah when did you How long have you been writing

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and recording solo material, because that's a lot of material.

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I assume that's over a span of a few years. Anyway.

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Speaker 11: That is the oldest stuff that's on any of the

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streaming platforms is from twenty eighteen, Okay, so seven years.

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There's a few other a couple of other albums that

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are only on my band camp from before that first

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solo album I think was twenty eleven. Oh okay, when

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I was in a band called Honest Thieves for a

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few years.

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Speaker 10: Yeah.

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Speaker 11: We released an album in twenty fourteen, which is still

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up on my band camp kind of a rock and

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roll thing.

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Speaker 10: Oh no, kidding, Okay, cool. I think I've heard of,

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or maybe I just feel like I've heard of, Honest

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Theves because that's such a cool name. That is a

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cool name. But if the name is familiar, to me. Yeah,

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so then, now, so how long have you been with

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Modern Fools? That that that that hasn't been as long

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as you've been doing the solo material, right, because.

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Speaker 11: That's no, it has not. I joined up with Modern Fools.

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It's been just over three years now, he's late twenty

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twenty one, okay, And I started playing bass with those guys.

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And I mean I've been playing with various members of

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Modern Fools for a long time.

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Speaker 10: Yeah.

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Speaker 11: That's always the you know, the rotating cast of any

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of any music community, right, you know, I'm over and keen,

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and so there's a degree of I've played with everybody

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there to some degree. Yeah, but yeah, I've been playing

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with the drummer of Modern Fools since high school cool

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together with John the guitarist for twelve years now. He

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was in Honest Thieves. Oh okay, so yeah, just a

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rotating cast, but three and a half years or so

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with Modern Fools, playing bass and singing the harmonies.

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Speaker 10: Excellent, excellent. The songs that we're playing today are these

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all from the latest release.

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Speaker 11: Everything is from the latest release.

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Speaker 10: And is that a I forgot? How is that a

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full length or an EP full length? It's length Okay, Well,

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was there anything that went into any anything specific that

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went into that decision, you know, because obviously, again, we

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live in a time where you've got so many different

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options in terms of how you release music. Some people

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just release singles, some people decide to do an EP,

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some people decide to do a full album. Was there

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was there any particular reason you decided to do a

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full album. Do these songs have a sort of cohesive

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connection to them or they do each other.

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Speaker 11: Yeah. It started out I thought it was going to

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be an EP. I thought I'd weed a couple of

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the songs out as I as I went through, and

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then I started going and I'm like, oh, I got

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nine songs and maybe i could write there's one instrumental

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piece that's again piano bassed. It was like, ten is

294
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a nice even number. It feels like a full album. Yeah,

295
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these all are are Coe said in that again, they're

296
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the subset of songs that I've ever written on piano,

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which was sort of unique. And as I dove into

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them and worked on them, I found that that there's

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just a lot of nostalgia built into this set of songs.

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For whatever reason, writing on piano brings that out of me.

301
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Being a dad brought that out of me a bit.

302
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I've got two daughters at home. Yeah, and I was

303
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never a nostalgic person, and I have kids, and now

304
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I'm very aware of moments passing, Right, it gives you

305
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that a different perspective. So these songs are all all

306
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sort of looking backward in some degree. Some of them

307
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are stories that are true for my life. Some of

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00:16:36,519 --> 00:16:38,840
them are borrowed from other people. Right. A couple More

309
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to Go is about this older friend of mine watching

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her fifty year marriage not fall apart, but watching her

311
00:16:48,360 --> 00:16:50,960
partner pass and doing it with more dignity than I've

312
00:16:51,000 --> 00:16:56,840
ever seen anyone do that. So anyway, it's not all sadness,

313
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but it's all there's kind of this rose colored glasses

314
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look backwards that that ties these songs together. Faited Pictures

315
00:17:04,119 --> 00:17:06,799
is the title track, which isn't one that will listen

316
00:17:06,799 --> 00:17:09,519
to today, but it kind of prompted the idea for

317
00:17:09,559 --> 00:17:11,920
the album art of all these pictures of just my

318
00:17:12,119 --> 00:17:15,440
photo album yeah, my family photo albums mashed together, and

319
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so yeah, it's a it's a look back. It's reflective,

320
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kind of just escaping from some of the turmoil. Of

321
00:17:23,279 --> 00:17:25,480
the last couple of years backwards.

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Speaker 10: Did you did you create the cover art yourself? I mean,

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obviously that's your your photo albums, but did.

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Speaker 11: You did oh very cool, too much, too much the Gallipo,

325
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They did every single piece of it.

326
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Speaker 10: No, I think that's fantastic. I think that's that's excellent.

327
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We should play another track. What should we play next?

328
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We just played a couple more to go to open

329
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the segment, but I'd love to play another one.

330
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Speaker 11: Yeah, let's let's do only Ever Always only over a

331
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second track on the album.

332
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Speaker 10: What What should we know about this song?

333
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Speaker 2: Any?

334
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Speaker 10: Any? Any song?

335
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Speaker 11: Is what Let's see? I wrote this. It was inspired

336
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by a book that I was reading and it just

337
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had this really beautiful love story that sort of creeps

338
00:18:08,759 --> 00:18:11,759
up on you. The second Chance that I thought was

339
00:18:11,799 --> 00:18:14,279
really beautiful, And part of this song actually came from

340
00:18:14,319 --> 00:18:16,599
a prompt. I was in a songwriter's group and we

341
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were doing weekly prompts last April, and because everything had

342
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started to turn green, the prompt was used the word

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green somewhere in your song, and it's snuck in there

344
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in the chorus. This was the song written for that.

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Speaker 10: I just have to say though, before we play the song.

346
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This is one of those weird synchronicities. Jenny's heard me

347
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talk about this. So this concept of writing prompts had

348
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never really come upon the show before. But last night

349
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I was on because there's a show here that Arizon

350
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Friday nights at six pm called Granted State of Mind.

351
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You might know. Do you know Rob Azevito? I met

352
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Rob yet okay, yeah, and he has Pembroke City limits

353
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and everything. But so I was here for that to

354
00:18:54,880 --> 00:18:57,799
help Rob set up Mike's for a sound because Katie

355
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Dobbins yeah, came in and played live sweet and the

356
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subject of writing prompts came up. She was talking about

357
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using using prompts, you know, to to help give her

358
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ideas for songs. And I never really heard anyone talk

359
00:19:08,799 --> 00:19:11,160
about it that way before. And and then you you

360
00:19:11,200 --> 00:19:16,960
mentioned prompts. It's funny. Those moments are so interesting to me. Yeah, yeah, yeah,

361
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but uh, all right, so let's give this a spin.

362
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If you are just joining us, Ian Gallipo is here

363
00:19:22,200 --> 00:19:25,200
with us in studio, and uh, this is great. This

364
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is called only Ever Always.

365
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Speaker 13: I was falling gently, settled in the silence of frozen dark,

366
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an empty hibernation.

367
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Speaker 14: You.

368
00:19:45,799 --> 00:19:49,039
Speaker 13: We were there to catch me, drawn in by the

369
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wildness of broken heart. Oh kind of patience.

370
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Speaker 2: In your hands, my.

371
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Speaker 5: World, in all the world, A light.

372
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Speaker 3: Buzz on the branches over there like a side cornassy.

373
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Speaker 4: It's capturing the light stall in the second chances and

374
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light in your right.

375
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Speaker 13: There's no wrong right, no more wrong or right. There's

376
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only ever always, And running from the heartache certain in

377
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the distance we had put behind the best could only

378
00:20:42,559 --> 00:20:48,839
change us. Love was like an earthquake, overwhelming and escapable

379
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and violent.

380
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Speaker 2: So we let into cuz.

381
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Speaker 15: In worlds and for everything, scream all the world.

382
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Speaker 2: Light it's on the branches, and.

383
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Speaker 13: Come back seas, capturing light stole in the second chances

384
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and the moon night, And you're right. There's no wrong right,

385
00:21:17,480 --> 00:21:22,519
no one wrong right, probably ever always is.

386
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Speaker 10: I love the way that ends. I didn't even want

387
00:21:49,559 --> 00:21:51,640
to talk over the end of it. That's so cool.

388
00:21:51,920 --> 00:21:54,559
That's Ian Gallipo. Only ever always is the name of

389
00:21:54,599 --> 00:21:58,759
the track. That's really nice. I love the I love

390
00:21:58,799 --> 00:22:02,720
the choruses on these and the you know the obviously

391
00:22:03,079 --> 00:22:06,279
you know you're how many? How many layers of vocals

392
00:22:06,319 --> 00:22:09,039
are on like that a song? I'm such a recording nerd,

393
00:22:09,119 --> 00:22:12,759
so I asked these weird, great weird questions. Probably nobody

394
00:22:12,759 --> 00:22:15,160
else care how many layers of vocals, but I'm just

395
00:22:15,240 --> 00:22:17,400
curious because it just sounds so good.

396
00:22:17,759 --> 00:22:20,200
Speaker 11: Thank you so much. No, I love the recording nerd

397
00:22:20,440 --> 00:22:26,559
conversations here. That song has got I think nine layers

398
00:22:26,559 --> 00:22:30,920
of vocal. Okay, so it's it's like a four part harmony.

399
00:22:30,680 --> 00:22:33,519
My wife is singing the highest right, the female voice,

400
00:22:34,319 --> 00:22:37,000
he's got two parts, and then I'm doubling the lead

401
00:22:37,079 --> 00:22:41,119
vocal and singing two underneath it. Okay, So it's like

402
00:22:41,160 --> 00:22:44,240
a five part harmony with nine total voices layered in.

403
00:22:44,400 --> 00:22:47,759
Speaker 10: Oh nice, Yeah, it sounds was that hard to get

404
00:22:47,759 --> 00:22:50,440
that right? Like like the way you wanted it? Because

405
00:22:50,440 --> 00:22:53,559
that's kind of complex working all that out, or maybe

406
00:22:53,599 --> 00:22:56,119
it's not. Maybe, So I know, sometimes it can be

407
00:22:56,200 --> 00:22:58,279
kind of instinctive when you're working out harmonies, but.

408
00:22:58,759 --> 00:23:02,240
Speaker 11: I working at harmonies is like my favorite nerd thing

409
00:23:02,279 --> 00:23:07,720
to do. Oh I love it. So it's a little tricky,

410
00:23:08,039 --> 00:23:10,480
but it's a lot of fun. Like I do all

411
00:23:10,480 --> 00:23:13,319
that most of the harmony arrangements for modern fools as well.

412
00:23:13,440 --> 00:23:16,200
Right when I was singing with with Josh and when

413
00:23:16,240 --> 00:23:20,400
we record together with two voices, it's always interesting, like

414
00:23:20,400 --> 00:23:24,279
what what can we do that isn't just tight thirds? Right?

415
00:23:24,559 --> 00:23:27,920
And so I know this is like music theory nerd stuff,

416
00:23:27,920 --> 00:23:31,720
but yeah, it's complicated, but it's it's fun and I

417
00:23:31,759 --> 00:23:35,200
love when I am recording and I have license to like, oh,

418
00:23:35,240 --> 00:23:37,279
I can just fill this course up with a five

419
00:23:37,359 --> 00:23:38,680
part gigantic thing.

420
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Speaker 10: How long did it take to record the to record

421
00:23:42,400 --> 00:23:43,079
the album?

422
00:23:43,440 --> 00:23:49,119
Speaker 11: The album was over the course of maybe eight months. Okay, again,

423
00:23:49,279 --> 00:23:54,079
all done at home, and it's it's the challenge in recording.

424
00:23:54,079 --> 00:23:56,680
It is is always just finding the time, right. I

425
00:23:56,720 --> 00:23:59,400
work full time and I've got children, so it's loud

426
00:23:59,440 --> 00:24:01,799
in the house for most of the hours.

427
00:24:01,440 --> 00:24:05,400
Speaker 10: Of the day. Did you do all the did you

428
00:24:05,440 --> 00:24:06,880
do the mastering to yourself?

429
00:24:06,960 --> 00:24:10,200
Speaker 11: Or did you say I had it mastered by a

430
00:24:10,240 --> 00:24:14,680
guy named Jim Bergson who's over in Boston area. Okay, okay, yeah,

431
00:24:14,720 --> 00:24:16,799
I record it. I did all of the mixing. It

432
00:24:16,839 --> 00:24:17,880
was mastered separately.

433
00:24:18,000 --> 00:24:21,319
Speaker 10: Excellent. Now, why Jim Jim Bergson is that his name?

434
00:24:21,359 --> 00:24:21,920
Speaker 11: That's his name?

435
00:24:22,599 --> 00:24:24,319
Speaker 10: How did how did you choose him? Because You've got

436
00:24:24,359 --> 00:24:27,000
a lot of options. What what led you to work

437
00:24:27,000 --> 00:24:27,400
with him.

438
00:24:27,400 --> 00:24:29,960
Speaker 11: There are so many options. He and I had connected

439
00:24:30,200 --> 00:24:34,319
via Instagram maybe last early last year, and he had

440
00:24:34,359 --> 00:24:36,279
reached out a handful of times, just like, Hey, if

441
00:24:36,279 --> 00:24:39,200
you've got any projects, just keep me in touch. I

442
00:24:39,240 --> 00:24:41,200
really like your writing. I'd love to work with you.

443
00:24:41,440 --> 00:24:44,400
And I've worked with a handful of other mastery engineers

444
00:24:44,400 --> 00:24:46,079
who all did a great job. But I wanted to

445
00:24:46,119 --> 00:24:48,519
give Jim a swing. He's a good guy and.

446
00:24:50,039 --> 00:24:51,640
Speaker 10: He did a great job, did a great job, knocked

447
00:24:51,640 --> 00:24:53,680
it out of the park. I would say, yeah, absolutely,

448
00:24:54,039 --> 00:24:57,759
Oh that's very cool. That's very cool. Now what is

449
00:24:57,799 --> 00:25:02,160
your Obviously you're always right, right, So I'm curious. Uh,

450
00:25:02,240 --> 00:25:05,279
and this this hasn't been out that long, right then.

451
00:25:05,359 --> 00:25:07,279
Speaker 11: Week a week's Saturday?

452
00:25:07,480 --> 00:25:11,960
Speaker 10: What's that new? Okay, jeez, So do you plan to

453
00:25:12,720 --> 00:25:14,240
I don't know if you're thinking this far ahead? Do

454
00:25:14,240 --> 00:25:16,440
you plan Do you have another release already kind of

455
00:25:16,480 --> 00:25:19,000
in mind or are you just kind of focused on

456
00:25:19,000 --> 00:25:21,680
on this one in the moment or because you're probably

457
00:25:21,720 --> 00:25:23,839
always writing, I'm sure you've got a lot of ideas.

458
00:25:23,519 --> 00:25:30,119
Speaker 11: Always writing. Yeah, and yeah, I don't have a concrete,

459
00:25:32,079 --> 00:25:35,039
certain set that I'm going to release. I've got another

460
00:25:35,119 --> 00:25:38,519
single that I worked with an online producer to flesh

461
00:25:38,519 --> 00:25:40,640
out is my first time ever just handing a song

462
00:25:40,680 --> 00:25:44,400
over and being like, yeah, you do all the instruments. Oh,

463
00:25:44,480 --> 00:25:46,440
and I'm really excited with how that came back. So

464
00:25:46,440 --> 00:25:48,440
I'm gonna work with him on a handful of more songs.

465
00:25:48,720 --> 00:25:51,599
But so that song is called on borrowed time, that'll

466
00:25:51,599 --> 00:25:53,880
come out. I don't have a date, but certainly by

467
00:25:54,000 --> 00:25:56,920
the by Memorial Day. Oh okay, I'm going to move

468
00:25:56,960 --> 00:25:59,480
on from not move on from these songs quickly. But

469
00:25:59,599 --> 00:26:02,160
I've got a backlog of like fifty more songs that

470
00:26:02,599 --> 00:26:05,640
I think deserve release, and I'm thirty six. I can't

471
00:26:05,680 --> 00:26:07,920
just wait forever to do this. So this is like

472
00:26:07,960 --> 00:26:11,200
the year that I'm doing two full albums for sure. Wow,

473
00:26:11,400 --> 00:26:14,480
at least another handful of singles on top of it.

474
00:26:14,559 --> 00:26:19,000
Speaker 10: Oh, that's great, that's great. When you play live solo,

475
00:26:19,440 --> 00:26:23,079
do you, I mean you obviously have a lot of

476
00:26:23,079 --> 00:26:25,160
your own material to draw from. Do you also play

477
00:26:25,200 --> 00:26:27,640
some covers or do you are you able to do

478
00:26:27,680 --> 00:26:29,039
shows where you just play your own.

479
00:26:28,839 --> 00:26:34,880
Speaker 11: Stuff or I predominantly play my own material. Good, there's

480
00:26:34,920 --> 00:26:37,640
so much of it that, even like I've worked with

481
00:26:38,759 --> 00:26:42,160
I play breweries and things like three hours. In that

482
00:26:42,279 --> 00:26:44,440
three hours, right, there's a couple of ten minute breaks,

483
00:26:44,480 --> 00:26:47,079
and I'm playing maybe five covers over the course of

484
00:26:47,119 --> 00:26:53,839
three hours. Like it's it's mostly original music, which is

485
00:26:54,680 --> 00:26:56,000
a way to do it. I don't know if it's

486
00:26:56,039 --> 00:26:58,599
the best strategy, but it's the strategy that I choose.

487
00:26:58,920 --> 00:27:01,279
Speaker 10: If it's working for you, working for you, yeah, I say,

488
00:27:01,319 --> 00:27:04,759
run with it. That's great, that's great. I'm also curious

489
00:27:04,759 --> 00:27:09,599
about influences I hear. I think a little bit of

490
00:27:09,599 --> 00:27:10,880
Ben Folds.

491
00:27:10,480 --> 00:27:13,880
Speaker 11: Maybe, Oh man, I love Ben Folks. Yeah, yeah, I

492
00:27:13,880 --> 00:27:15,359
think he's an absolute genius.

493
00:27:15,839 --> 00:27:18,680
Speaker 10: I also thought maybe I don't know so much on

494
00:27:18,680 --> 00:27:20,319
that one. But the other one we played a little

495
00:27:20,319 --> 00:27:22,160
bit James Taylor is that is he and.

496
00:27:22,200 --> 00:27:25,119
Speaker 11: Your James Taylor is very much in my in my

497
00:27:25,119 --> 00:27:26,119
wheelhouse as well.

498
00:27:26,200 --> 00:27:28,640
Speaker 10: I think one of the greatest songwriters of all time. Personally,

499
00:27:28,720 --> 00:27:30,000
James Taylor is incredible.

500
00:27:30,160 --> 00:27:32,440
Speaker 11: Agreed. Yeah, And when he knocks it out of the park,

501
00:27:32,480 --> 00:27:34,119
there's nobody better.

502
00:27:34,319 --> 00:27:34,799
Speaker 2: Yeah.

503
00:27:34,880 --> 00:27:38,119
Speaker 11: Yeah, He's got some absolutely great songs. So certainly you've

504
00:27:38,119 --> 00:27:42,039
picked two that I absolutely love. Other influences that you'd

505
00:27:42,039 --> 00:27:46,279
certainly hear on this album the postal Service. Right, Ben

506
00:27:46,319 --> 00:27:49,319
Gibbard death Cab for Cutie is another big influence.

507
00:27:49,960 --> 00:27:51,720
Speaker 10: Yeah, that one never occurred to me, but now that

508
00:27:51,759 --> 00:27:53,599
you mentioned it, I can hear it. Yeah, now as

509
00:27:53,640 --> 00:27:54,079
you mentioned it.

510
00:27:54,160 --> 00:27:59,440
Speaker 11: Yeah, other you know piano writers that I really look

511
00:27:59,519 --> 00:28:04,640
up to. Randy Newman, Okay, someone I discovered not late

512
00:28:04,680 --> 00:28:07,640
in life because I'm not an old man, but later, right,

513
00:28:07,680 --> 00:28:10,440
I grew up and he was the Toy Story guy. Yeah,

514
00:28:10,440 --> 00:28:12,599
it was You've got a friend in me. And and

515
00:28:12,640 --> 00:28:16,119
then I was reading a Ben Folds interview whatever was

516
00:28:16,160 --> 00:28:18,200
ten years ago, and he's he said Randy Newman was

517
00:28:18,200 --> 00:28:21,079
one of his biggest influences. What am I sleeping on here?

518
00:28:21,440 --> 00:28:26,480
And going deeper back into his discography, it was amazing,

519
00:28:26,519 --> 00:28:29,440
you know the album's Little Criminals or or good old

520
00:28:29,440 --> 00:28:31,839
boys like he's just incredible.

521
00:28:32,000 --> 00:28:32,480
Speaker 10: Yeah.

522
00:28:32,720 --> 00:28:37,000
Speaker 11: Any any Frank Zappa, No Frank Zappa, Okay, I got

523
00:28:37,000 --> 00:28:39,920
to check out Frank Zappa. All my friends enjoy Frank Zappa.

524
00:28:39,960 --> 00:28:42,599
And I've never done the deep dive into his catalog.

525
00:28:42,799 --> 00:28:47,000
Speaker 10: Yeah, I mean it's it's it gets pretty pretty weird, but.

526
00:28:46,079 --> 00:28:46,960
Speaker 11: But her mind weird.

527
00:28:47,000 --> 00:28:50,359
Speaker 10: But he's yeah, yeah, most of us don't. If you know,

528
00:28:50,400 --> 00:28:52,039
when we give it a chance, you know he's got

529
00:28:52,200 --> 00:28:54,359
He's got some great stuff. I I was never a

530
00:28:54,400 --> 00:28:57,000
big Frank Zappa fan myself, but a couple of years ago,

531
00:28:57,079 --> 00:28:59,640
so I'm on a show on Friday Night's called Retrospection

532
00:28:59,720 --> 00:29:02,039
Radio with Poul c and Paul's a huge Zappa fan,

533
00:29:02,119 --> 00:29:04,039
and he's played some stuff on there. It's like, wow.

534
00:29:04,079 --> 00:29:06,119
I remember when I was a kid, my parents were

535
00:29:06,119 --> 00:29:08,359
into him, but I never got into him. But now,

536
00:29:08,680 --> 00:29:10,279
you know, as an adult, you know, because you get

537
00:29:10,279 --> 00:29:12,680
older and you appreciate stuff that maybe you heard when

538
00:29:12,720 --> 00:29:15,279
you were a kid that you didn't connect with, but

539
00:29:15,319 --> 00:29:17,559
now now you hear it and you go, oh, now

540
00:29:17,599 --> 00:29:19,720
I get it. Now I understand what's great about this,

541
00:29:20,200 --> 00:29:21,839
you know. And of course there's other stuff you might

542
00:29:21,880 --> 00:29:23,240
hear that you liked when you were a kid where

543
00:29:23,279 --> 00:29:27,319
you go, oh, I used to like that. That happens too.

544
00:29:27,440 --> 00:29:34,000
But yeah, But and your your vocal style specifically, is

545
00:29:34,000 --> 00:29:37,200
there anyone you you try to really emulate or who

546
00:29:37,240 --> 00:29:39,160
influences you in terms of how you sing.

547
00:29:40,039 --> 00:29:45,720
Speaker 11: Ah, that's a great question. Ben Folds would come back

548
00:29:45,799 --> 00:29:50,240
up simply because he does not have like a conventionally

549
00:29:50,279 --> 00:29:53,440
pretty voice. I never felt like I did either, and

550
00:29:53,519 --> 00:29:56,279
so it was like a permission to just have a voice.

551
00:29:56,359 --> 00:29:59,440
Or Ben Kueller is the same thing. Okay, like guys

552
00:29:59,480 --> 00:30:04,079
who don't don't have that beautiful voice, right, I mean,

553
00:30:04,079 --> 00:30:08,279
I worship Jeff Buckley. I will never sing like that.

554
00:30:08,720 --> 00:30:14,799
It's never gonna happen. Or like, let's see Joe Cocker

555
00:30:15,359 --> 00:30:17,960
amazing voice. You just heard the guy sing and be like,

556
00:30:17,960 --> 00:30:20,640
what is wrong? But the performance is what makes it amazing.

557
00:30:21,160 --> 00:30:23,599
And another one that I didn't realize until maybe a

558
00:30:23,640 --> 00:30:28,200
couple of years ago, was is Tracy Chapman. Yeah, definitely.

559
00:30:28,440 --> 00:30:30,799
I loved her albums when I was a kid. I

560
00:30:30,839 --> 00:30:33,519
love her albums still, And I didn't realize that some

561
00:30:33,599 --> 00:30:38,000
of my inflections were borrowed until I accidentally pitch shifted

562
00:30:38,039 --> 00:30:41,240
my voice up on a recording that I was working on,

563
00:30:41,319 --> 00:30:44,759
and I was like, oh, wow, I sound a bit

564
00:30:44,839 --> 00:30:47,240
like Tracy Chapman if you pitch ship my voice up

565
00:30:47,279 --> 00:30:47,680
a fifth.

566
00:30:48,480 --> 00:30:52,519
Speaker 10: Oh that's interesting. Okay, yeah, yeah, oh very cool.

567
00:30:52,680 --> 00:30:52,880
Speaker 2: Yeah.

568
00:30:52,920 --> 00:30:54,720
Speaker 10: Part of why I was curious to ask you that

569
00:30:54,799 --> 00:30:59,799
question is your voice, Like, vocally, you don't remind me

570
00:30:59,839 --> 00:31:02,799
of anyone specific, So it was curious what your influences were, which,

571
00:31:02,799 --> 00:31:04,759
by the way, I mean that as a compliment because

572
00:31:04,799 --> 00:31:06,519
it's you know, you're I think it's cool that you

573
00:31:06,599 --> 00:31:09,559
sound you know, unique, you know, because some people, you know,

574
00:31:09,599 --> 00:31:11,079
you can listen to and say, oh, they sound like

575
00:31:11,119 --> 00:31:13,519
they sound like so and so. But to to not

576
00:31:13,640 --> 00:31:15,920
be able to easily identify someone that you sound like,

577
00:31:15,920 --> 00:31:18,000
I think it's cool, so and I think I think

578
00:31:18,000 --> 00:31:20,119
it makes what you're doing even that much more interesting,

579
00:31:20,240 --> 00:31:22,519
at least to someone like me really analyzes this stuff

580
00:31:22,559 --> 00:31:24,640
like the nerd that I am, you know, I do

581
00:31:24,759 --> 00:31:28,200
take that as very cool. Well, let's let's play another track.

582
00:31:28,440 --> 00:31:30,279
Which one should we play next?

583
00:31:30,680 --> 00:31:34,000
Speaker 11: Let's do uh, the one we kicked off the show

584
00:31:34,000 --> 00:31:36,160
with here. What was that Getting dark?

585
00:31:36,599 --> 00:31:42,200
Speaker 10: Getting Dark? Yeah, speaking of pitch shifting. So we'll play

586
00:31:42,200 --> 00:31:43,160
this at the correct speed.

587
00:31:43,240 --> 00:31:44,720
Speaker 11: Now, that would be great.

588
00:31:45,279 --> 00:31:47,799
Speaker 10: Very cool if you are just joining us. Ian Gallipo

589
00:31:47,839 --> 00:31:50,920
is here with us in studio, and this is called

590
00:31:50,960 --> 00:31:51,920
Getting Dark.

591
00:31:58,519 --> 00:31:59,200
Speaker 2: Countdown.

592
00:32:01,079 --> 00:32:04,839
Speaker 13: Knowing you and I be worlds apart.

593
00:32:06,799 --> 00:32:10,200
Speaker 3: Expectations were a couple of months at mold.

594
00:32:11,680 --> 00:32:15,359
Speaker 2: We would do our level best, carry on.

595
00:32:17,480 --> 00:32:29,799
Speaker 3: Firely, rumbling down below sky above on fours ands, getting dark,

596
00:32:31,319 --> 00:32:33,920
the sky above.

597
00:32:34,119 --> 00:32:38,680
Speaker 2: Falls, and getting dark.

598
00:32:44,000 --> 00:32:49,440
Speaker 3: We made it farther than anybody ever forgot of home.

599
00:32:51,400 --> 00:32:54,480
Speaker 2: Starlight fell this up so we could.

600
00:32:54,240 --> 00:32:59,880
Speaker 3: Stab beyond the limits everybody said it would take.

601
00:33:00,000 --> 00:33:07,960
Speaker 2: They're told we opened up the whole world to explore.

602
00:33:08,400 --> 00:33:18,759
Speaker 3: Together, just a light on in the dark together, just

603
00:33:19,240 --> 00:33:30,240
a light on in the dark, storm on the horizon.

604
00:33:32,599 --> 00:33:37,400
Speaker 2: And all that you could do was walk.

605
00:33:39,640 --> 00:33:46,880
Speaker 16: While I was overwhelmed, and there was nothing I could say.

606
00:33:48,000 --> 00:34:02,319
But my bard is long, and it's getting dark. My

607
00:34:02,720 --> 00:34:08,199
bader is long, and it's getting dark.

608
00:34:20,840 --> 00:34:24,840
Speaker 2: We tried to hold on. The week's turned into months,

609
00:34:24,880 --> 00:34:26,960
still out of range.

610
00:34:28,719 --> 00:34:33,000
Speaker 3: Until that moment when you sang out yr goodbye.

611
00:34:33,880 --> 00:34:37,079
Speaker 2: I was too far gone for you to hear me.

612
00:34:39,159 --> 00:34:40,880
But the morning sun.

613
00:34:42,400 --> 00:34:47,679
Speaker 3: Let the heart insight, A fineal pulse.

614
00:34:47,360 --> 00:34:51,320
Speaker 2: A glam is the dark.

615
00:34:53,440 --> 00:34:56,199
Speaker 15: A fineal pulse.

616
00:34:55,960 --> 00:35:05,679
Speaker 3: A glamor in the dark, together, just to light on

617
00:35:06,280 --> 00:35:17,760
in the dark. The sky aboven and it's skinning dark.

618
00:35:19,039 --> 00:35:26,239
My bad is and it's skinning dark.

619
00:35:38,519 --> 00:35:44,679
Speaker 10: That is getting dark. It's another one of those cool endings.

620
00:35:44,840 --> 00:35:45,599
I really like that.

621
00:35:45,599 --> 00:35:48,599
Speaker 11: A lot, thanks my sos. At the end, there is

622
00:35:48,639 --> 00:35:49,280
that what that is?

623
00:35:49,360 --> 00:35:52,920
Speaker 10: Yeah? Yeah, that's cool. I like that. That is Ian Gallipo,

624
00:35:53,079 --> 00:35:56,239
who is here with us in the studio, and well,

625
00:35:56,280 --> 00:35:58,519
the time does go quickly. But a couple of things.

626
00:35:58,519 --> 00:36:00,519
So first of all, I want to make sure that

627
00:36:00,920 --> 00:36:03,079
everyone knows where to find you online, how to keep

628
00:36:03,159 --> 00:36:05,880
up with everything that you're doing, especially since I'm sure

629
00:36:05,880 --> 00:36:07,960
there are people who have no idea how to spell Gallipo.

630
00:36:09,480 --> 00:36:13,719
Speaker 11: I don't know. Sometimes I wouldn't blame them now, thanks Matt.

631
00:36:14,000 --> 00:36:19,800
It's yeah, Ian Gallipo Music. I A n Ian Gallipo,

632
00:36:19,960 --> 00:36:23,239
a bunch of extra vowels. It's French E A L,

633
00:36:23,360 --> 00:36:27,679
I P E A U and music on let's See,

634
00:36:27,719 --> 00:36:34,480
on Instagram, on TikTok, on YouTube, on Facebook, my website,

635
00:36:34,519 --> 00:36:37,079
Ian Galipo Music dot com. You can find me in

636
00:36:37,119 --> 00:36:39,760
all of those places. I'm most active on Instagram. But

637
00:36:40,679 --> 00:36:43,800
wherever you know you're at, that's that's where I am.

638
00:36:44,280 --> 00:36:46,440
Speaker 10: I was even misspelling your name the other day when

639
00:36:46,480 --> 00:36:48,320
I was when I was doing a post for the

640
00:36:48,360 --> 00:36:51,159
show today, I was I kept typing two l's, and

641
00:36:51,199 --> 00:36:53,079
I kept having to correct myself because I think in

642
00:36:53,119 --> 00:36:57,280
my mind the consonant to vowel ratio in your name

643
00:36:58,000 --> 00:37:00,280
was throwing me Upas like you said, it's friends, there's

644
00:37:00,280 --> 00:37:03,119
a lot of a lot of owels, so I kept

645
00:37:03,119 --> 00:37:05,159
trying to I kept trying to raise the number of

646
00:37:05,159 --> 00:37:08,960
consonants in your name. Anybody ever spell it wrong on

647
00:37:09,000 --> 00:37:10,639
a poster or anything on a Oh?

648
00:37:10,679 --> 00:37:12,960
Speaker 11: Yeah, who El's is the most common?

649
00:37:13,039 --> 00:37:13,599
Speaker 2: Is it? Yeah?

650
00:37:13,840 --> 00:37:16,719
Speaker 11: Who El's is the most common? And flipping the the

651
00:37:16,719 --> 00:37:19,679
e and the flipping the vowels at the end, au right,

652
00:37:19,679 --> 00:37:26,119
it's like beautiful or whatever. But a eu a U

653
00:37:26,199 --> 00:37:28,360
E like they just throw them in at the end.

654
00:37:28,880 --> 00:37:31,639
I don't blame them, I can imagine. Yeah, that's funny.

655
00:37:32,000 --> 00:37:32,199
Speaker 17: Uh.

656
00:37:32,239 --> 00:37:36,000
Speaker 10: And and modern fools of course too. Where should people

657
00:37:36,039 --> 00:37:36,960
go for modern fools?

658
00:37:36,960 --> 00:37:41,679
Speaker 11: Modern fools and Modern fools music on Instagram, Facebook, TikTok,

659
00:37:42,199 --> 00:37:43,840
modern fools music dot com.

660
00:37:44,039 --> 00:37:46,719
Speaker 10: That's easy, that's nice, and that's much easy. I assume

661
00:37:46,760 --> 00:37:48,880
modern fools has never been spelled wrong on a poster?

662
00:37:49,400 --> 00:37:51,599
Speaker 11: Uh, not that I recall, it's never been like a.

663
00:37:51,679 --> 00:37:56,280
Speaker 10: Z Yeah, yeah, right, that's good. That's good. And what

664
00:37:56,280 --> 00:37:58,039
do you have? What do you have coming up to plug?

665
00:37:58,360 --> 00:38:01,119
Speaker 11: Yeah? For sure? I'm playing tonight Atally over in Hancock,

666
00:38:01,159 --> 00:38:04,519
New Hampshire. He's got an amazing venue over there, Like

667
00:38:04,559 --> 00:38:07,519
Hancock is the quint essential small New England Town probably

668
00:38:07,559 --> 00:38:08,679
even haven't even heard of it.

669
00:38:08,679 --> 00:38:10,800
Speaker 10: It's I was going to say, I don't know where

670
00:38:10,800 --> 00:38:11,480
Hancock is.

671
00:38:11,559 --> 00:38:15,760
Speaker 11: It's sort of north of Peterborough, right between and Manchester.

672
00:38:15,920 --> 00:38:16,079
Speaker 4: Yeah.

673
00:38:16,119 --> 00:38:20,199
Speaker 11: Yeah, there's this old train station that they've converted, right

674
00:38:20,239 --> 00:38:23,639
like the classic long thin building. The Hancock Depot is

675
00:38:23,639 --> 00:38:26,280
a converted train station and they do a wonderful monthly

676
00:38:26,360 --> 00:38:27,199
series I've heard.

677
00:38:27,280 --> 00:38:30,400
Speaker 10: Okay, that sounds very familiar. I think when Eric was

678
00:38:30,440 --> 00:38:33,119
on Temple Mountain, I think he talked about that place.

679
00:38:33,400 --> 00:38:36,679
He probably plays there, he has played there, Okay, because

680
00:38:36,679 --> 00:38:38,960
that sounds as soon as you mentioned train station. Yep.

681
00:38:39,280 --> 00:38:42,199
Speaker 11: It's a wonderful vibe, really really great spot. So I'm

682
00:38:42,199 --> 00:38:45,559
playing there tonight. That's at seven thirty. My next thing

683
00:38:45,639 --> 00:38:49,719
near Manchester is just over a couple months out here,

684
00:38:50,000 --> 00:38:53,280
April twenty sixth I'll be over here playing a great

685
00:38:53,320 --> 00:38:55,199
north Aale works in the in the afternoon.

686
00:38:55,360 --> 00:38:57,679
Speaker 10: Oh Bill, very good. Jenny and I are going to

687
00:38:57,719 --> 00:38:59,039
be there later today. I don't know if you know

688
00:38:59,079 --> 00:39:03,719
Jenny's Sun Jesse Coffee, but oh yeah, I know Jesse's great. Yeah,

689
00:39:03,719 --> 00:39:07,599
he's playing there today, yeah, yeah, Small.

690
00:39:07,320 --> 00:39:11,400
Speaker 11: World the Sweetheart. Yeah yeah, he's doing all the booking

691
00:39:11,519 --> 00:39:12,239
over there now.

692
00:39:12,679 --> 00:39:15,079
Speaker 10: Yeah yeah, yeah, he's doing great. Yeah. So we're gonna

693
00:39:15,079 --> 00:39:20,320
go see him play today. Yeah yeah, yeah today at

694
00:39:20,559 --> 00:39:24,599
four pm. Yeah. So, oh didn't did I know why that?

695
00:39:24,800 --> 00:39:26,760
I think I know why. The train station sounds familiar

696
00:39:26,760 --> 00:39:29,000
to me too, didn't, Modern fools? Did did you guys

697
00:39:29,000 --> 00:39:30,360
record a video there or something?

698
00:39:30,519 --> 00:39:34,239
Speaker 11: We did? Yes, okay, that's that would that would so

699
00:39:34,320 --> 00:39:38,079
we did, uh yeah, a live version basically of our

700
00:39:38,119 --> 00:39:41,320
album recorded in that space videos for it.

701
00:39:41,519 --> 00:39:41,719
Speaker 2: Yeah.

702
00:39:41,800 --> 00:39:42,599
Speaker 11: Yeah, it's fun.

703
00:39:42,800 --> 00:39:47,119
Speaker 10: Yeah, yeah, very cool, very cool. Well, congratulations on the

704
00:39:47,159 --> 00:39:50,199
album and everything that you're doing, and uh, it's great

705
00:39:50,239 --> 00:39:52,039
to have you on. We'll definitely do this again in

706
00:39:52,079 --> 00:39:54,920
the future, especially when you know it sounds like you've

707
00:39:54,960 --> 00:39:57,880
got another single coming soon, so I do well, Uh,

708
00:39:58,000 --> 00:40:00,239
we'll definitely we'll have you on for that, and that's

709
00:40:00,239 --> 00:40:01,360
going to be separate from the album.

710
00:40:01,519 --> 00:40:02,079
Speaker 11: I'll be separate.

711
00:40:02,119 --> 00:40:04,400
Speaker 10: It'll be a completely separate thing. Yeah. Yeah, so we'll

712
00:40:04,440 --> 00:40:07,760
we'll do this again soon and we will close out

713
00:40:07,800 --> 00:40:09,880
with so we have one more to play here. Oh

714
00:40:10,000 --> 00:40:13,400
I'm curious too. The So the title is Thoughts of

715
00:40:13,440 --> 00:40:14,559
a Widowed Cartoonist.

716
00:40:14,719 --> 00:40:15,880
Speaker 11: That's the title of the song.

717
00:40:16,000 --> 00:40:21,159
Speaker 10: This this ass have a story behind it. I assume it's.

718
00:40:21,199 --> 00:40:24,599
Speaker 11: So this song is fiction, okay, but it's it's as

719
00:40:24,679 --> 00:40:27,880
silly as this. I wanted to write a song it was.

720
00:40:27,960 --> 00:40:30,320
It came from a prompt. I wanted a song with

721
00:40:30,480 --> 00:40:34,199
the word toothbrush in it because I thought that was weird. Yeah,

722
00:40:34,239 --> 00:40:36,159
and I thought it would just be silly. And most

723
00:40:36,199 --> 00:40:38,199
of the time, when I give myself a prompt that's silly,

724
00:40:38,199 --> 00:40:40,719
it ends up being something very serious. Oh really, yeah,

725
00:40:40,760 --> 00:40:43,360
so this is that. It's it's sort of this song.

726
00:40:44,360 --> 00:40:47,360
It's the thoughts of a widow. For whatever reason, the

727
00:40:47,400 --> 00:40:50,039
guy's a cartoonist. I don't know why. Okay, it's just

728
00:40:50,039 --> 00:40:52,239
the imagery that came up as I was working through

729
00:40:52,280 --> 00:40:54,480
the verses of this song. Okay, So I wanted a

730
00:40:54,480 --> 00:40:56,639
song with a toothbrush in it, and I also wanted

731
00:40:56,639 --> 00:40:58,960
a song with a bass drop in it. I've never

732
00:40:58,960 --> 00:41:01,639
written something with that whoa whoa whoa nice you know,

733
00:41:01,760 --> 00:41:06,199
electronic sound. I mashed those two things together, and this

734
00:41:06,239 --> 00:41:08,639
is the song that came out. It's a little bit ridiculous,

735
00:41:08,639 --> 00:41:10,079
but I think it's kind of cool.

736
00:41:10,199 --> 00:41:13,920
Speaker 10: Yeah, absolutely, absolutely very cool. So we'll play that and

737
00:41:14,280 --> 00:41:17,360
if you are listening live on Saturday. Stick around. We

738
00:41:17,440 --> 00:41:21,480
have Becoming Human skyping in from Texas in the third hour.

739
00:41:21,880 --> 00:41:25,440
But we will close out this segment with this. This

740
00:41:25,599 --> 00:41:28,280
is called Thoughts of a Widowed Cartoonist and this is

741
00:41:28,320 --> 00:41:31,320
Ian Gallipo and Ian, thank you again, Thank you so much.

742
00:41:31,360 --> 00:41:42,559
Speaker 14: Man, You're two is fresh? Is still here.

743
00:41:43,639 --> 00:41:51,599
Speaker 13: Waiting on corner of the same under the mirror. I

744
00:41:51,679 --> 00:41:58,440
haven't found the strings the throw out. Oh I know

745
00:41:58,960 --> 00:42:00,119
I should.

746
00:42:01,400 --> 00:42:01,480
Speaker 14: It.

747
00:42:01,639 --> 00:42:16,119
Speaker 12: Lets me pretend, lad, if you could see Wait, my

748
00:42:16,320 --> 00:42:21,920
mind gets caught up writing captions for the Greek.

749
00:42:23,519 --> 00:42:27,159
Speaker 14: Boxed up in the comic thoughts.

750
00:42:26,760 --> 00:42:27,920
Speaker 5: Of found.

751
00:42:29,480 --> 00:42:35,199
Speaker 18: Colorful distraction that helped me forget.

752
00:42:43,239 --> 00:42:47,159
Speaker 5: I don't know if it's sad, funny.

753
00:42:47,440 --> 00:42:53,239
Speaker 18: Little things I took for granted, bits and pieces of

754
00:42:53,920 --> 00:42:59,559
like every day and unromantic.

755
00:42:59,119 --> 00:43:02,239
Speaker 5: The last beyond Pollard Street.

756
00:43:04,960 --> 00:43:30,800
Speaker 19: When you returned and done, they'll stay.

757
00:43:22,960 --> 00:43:25,199
Speaker 14: A lad it disappear.

758
00:43:27,199 --> 00:43:32,599
Speaker 13: Sent it to the land film, knowing in the thousand

759
00:43:32,920 --> 00:43:39,400
years the bristles and the handle will be there.

760
00:43:41,119 --> 00:44:00,440
Speaker 5: More leans the same, Oh.

761
00:44:00,360 --> 00:44:09,760
Speaker 20: Love of mine, where have you been? Twelve o'cloud knocks

762
00:44:09,880 --> 00:44:18,559
clothes and then call your name, but just came with

763
00:44:20,639 --> 00:44:24,159
who loves mine? Where healthy?

764
00:44:24,320 --> 00:44:24,360
Speaker 14: It?

765
00:44:28,000 --> 00:44:31,000
Speaker 15: Look dry checked.

766
00:44:30,639 --> 00:44:31,880
Speaker 2: The door.

767
00:44:34,480 --> 00:44:39,119
Speaker 15: Door love mine still gone before.

768
00:44:41,400 --> 00:44:43,440
Speaker 21: My balance tie.

769
00:44:44,000 --> 00:44:56,000
Speaker 20: That would say door, It's gone away forever. Your daughter

770
00:44:56,599 --> 00:45:05,360
has a devil in the ride, wicked heart, store apart

771
00:45:05,599 --> 00:45:06,360
my life.

772
00:45:09,239 --> 00:45:17,320
Speaker 15: Excuse me the sweetest scale I know not he is

773
00:45:17,920 --> 00:45:47,199
still bow download cigar tweets Linen can't forget man.

774
00:45:47,400 --> 00:45:57,079
Speaker 20: QUI soon remain from the hilly.

775
00:45:57,360 --> 00:46:01,079
Speaker 2: Do cheating art I next to you.

776
00:46:04,760 --> 00:46:08,480
Speaker 15: Daughter has devil in the ride.

777
00:46:11,639 --> 00:46:16,480
Speaker 20: She did her store all my life.

778
00:46:18,519 --> 00:46:21,239
Speaker 15: You still mean, sweetest gab.

779
00:46:21,440 --> 00:46:21,920
Speaker 7: I know.

780
00:46:25,480 --> 00:46:28,360
Speaker 15: Daughter is double down.

781
00:46:31,920 --> 00:46:33,920
Speaker 5: Don't call me in the.

782
00:46:34,000 --> 00:46:37,679
Speaker 15: Morning because I'm drying in my bed.

783
00:46:41,000 --> 00:46:46,039
Speaker 20: Left with final warnings and I'd rather receive.

784
00:46:49,599 --> 00:46:55,360
Speaker 15: Red hair. Shoot took she never lost my friend.

785
00:46:58,280 --> 00:46:59,119
Speaker 14: Devils.

786
00:47:17,920 --> 00:47:20,159
Speaker 22: In times of crisis, you need a law firm that

787
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788
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789
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790
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791
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792
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793
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794
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795
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797
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798
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799
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800
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can be reached at six oh three two two two

801
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802
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803
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804
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809
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Speaker 10: Breakfast, lunch or supper.

810
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Speaker 21: Dizzney's Cafe at eight sixty Elm Street in downtown Manchester.

811
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812
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813
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Speaker 10: Five three two, Eat, drink and be happy.

814
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Speaker 14: Dizzne's Cafe.

815
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Speaker 24: When it comes to keeping WMNH on the air and

816
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your own personal or business computer needs, trust Grow Computers

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located on Elm Street in Manchester. Groland handles computer repair,

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819
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822
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823
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Speaker 25: Your tech, your way. Trust Groland Computers.

824
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Speaker 18: Seven times out of ten.

825
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Speaker 16: We listened to our music at night.

826
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Speaker 14: Don titled book Business program.

827
00:49:43,119 --> 00:49:45,519
Speaker 26: Late Night to Light with DJ Midas right here on

828
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WMNH Manchester.

829
00:49:47,400 --> 00:49:48,920
Speaker 15: You want to know why because.

830
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Speaker 14: Saturdays and Sunday nights midnight to four am.

831
00:49:54,320 --> 00:49:59,760
Speaker 27: This hour on wm NH is sponsored by CGI Business Solutions,

832
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located at five Dartmouth Drive in Auburn. They serve all

833
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your business needs including employee benefits, planning, corporate design and

834
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Their phone number is eight sixty six eight four one

836
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forty six hundred or on the web at CGI Business

837
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Solutions dot com.

838
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Speaker 26: Behold the harmony of airwaves as you immerse yourself in

839
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the captivating frequencies of w MNHLP, the sonic card meats

840
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of Manchester, transcending through the ether at ninety five point

841
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three megahertz frequency modulation. Our transmissions emanate from the zenith

842
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of one thousand Elm Streets to insure into the hearts

843
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of our creative realm at one nineteen Canal Street, where

844
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innovation and sound cologne. They're the impromter of Manchester Public

845
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Television Service in the venerable City of Manchester, New Hampshire, USA.

846
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Speaker 1: Enrich your auditory jurity with.

847
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Speaker 26: The depth of our license to wesident when you spent

848
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your missives, do w m n H ninety five three

849
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at gmail dot com, or to reverse the virtual corridors

850
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of w m n H radio dot org. Engage with

851
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our sonic vibrations by communing with us through the digital

852
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channels or radio records. Eager to enthrall you with its

853
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mesmerizing kidence and envelop you with a seventy of boundless

854
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all its horn is won.

855
00:51:20,440 --> 00:51:26,639
Speaker 11: Dude, w m n H rip the.

856
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Speaker 10: Novels you're listening to.

857
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Speaker 2: W m n H.

858
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Speaker 20: Command God don't get supreme lead maxill.

859
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Speaker 7: GM back and start stop first of a start back

860
00:52:29,000 --> 00:52:33,079
on back at first of.

861
00:52:57,679 --> 00:52:58,360
Speaker 2: Some days.

862
00:52:58,480 --> 00:53:05,440
Speaker 17: I sound my my Doug, and it loves being so

863
00:53:06,679 --> 00:53:09,960
cud the darkest places.

864
00:53:10,400 --> 00:53:17,400
Speaker 28: So I'll fine if you can't breathe that soukay.

865
00:53:21,320 --> 00:53:22,920
Speaker 20: So lay bad.

866
00:53:26,800 --> 00:53:27,119
Speaker 5: Break.

867
00:53:31,599 --> 00:53:34,679
Speaker 7: I can't see it's.

868
00:53:33,840 --> 00:53:40,199
Speaker 2: All this bad come my mind with all these truth

869
00:53:40,440 --> 00:53:41,639
beak come.

870
00:53:44,039 --> 00:53:52,880
Speaker 17: And age being so kind breathing deep bet of my life.

871
00:53:53,960 --> 00:53:56,559
Speaker 2: If you take the bill and so.

872
00:54:02,159 --> 00:54:03,840
Speaker 13: So blag best.

873
00:54:07,280 --> 00:54:17,079
Speaker 28: Getting breg, I can't see with all this bad come

874
00:54:17,559 --> 00:54:23,599
mine mine. I'm a can tell all of the chound.

875
00:54:24,960 --> 00:54:30,360
Speaker 17: I can't get best leave bouts mass lily.

876
00:54:30,960 --> 00:54:36,360
Speaker 7: I'm in it up to see up wood.

877
00:54:56,440 --> 00:55:04,519
Speaker 5: So it may be.

878
00:55:08,119 --> 00:55:16,280
Speaker 2: I can deferything. I can't see you as all this

879
00:55:16,960 --> 00:55:17,280
bad

880
00:55:18,880 --> 00:55:19,800
Speaker 14: My mind