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Speaker 1: Oh yeah, welcome everybody. We have entered our number three

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New Marrow trace of Matt Connorton unleashed and we are

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live from the studios of wm MH ninety five point

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three FM, Inglorious Manchester, New Hampshire. Of course, you can

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stream the show from anywhere. Go to Matt connorton dot

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com slash live for all your live streaming options, social

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media links, contact infoshow archives, et cetera, et cetera. If

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you are listening live today is January twenty four, twenty

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twenty six, and I hope you are warm, keeping warm

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wherever you are, because it is brutally cold and we've

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got a we got a big storm coming. But that's okay.

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We're having fun.

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Speaker 2: Let's see.

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Speaker 1: Let me get that mic up. Brooklyn Mike is here.

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Oh I can't hear you. Let me figure out why

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I think I. Oh, oh, I'm hearing. Here's something. Go

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ahead and talk good morning Matt. There we are there,

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we are. So for those of you just joining us,

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if you have not heard Brooklyn Mike on the show,

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you're lucky. When Brooklyn Mike comes in, he brings his guitar,

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he plays live for us. So we have a you know,

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whenever we have live performers who play in studio, we

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have use a little bit of a different mic setup,

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so it doesn't always it's not always smooth right in

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the beginning, but then the rest of the show, everything's wonderful.

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So bear with us. But nope, we can hear him.

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Mike's got his guitar plug and he's going to play

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for us. And we should talk about So the last

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time you were on the last time you were on

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this show, because you are you're kind of a semi

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regular now on Retrospectrum Radio Correct and of course you've

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made many appearances on the Morning Show with Peter White

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as well. But since the last time you were on

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this program, you you've played an open mic at PCL right.

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Speaker 2: Yeah, at Pembroke City Limits.

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Speaker 1: Yeah, our friend Rob az Avito.

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Speaker 2: Yeah, great venue, beautiful venue. They do open mic there

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the first Wednesday of each month. So I attended the

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December and January open mics. Oh good, and I look

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forward to being back there. I believe it's February fourth, okay,

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the first Wednesday in February, Okay, very good.

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Speaker 1: So they do those every Wednesday at.

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Speaker 2: First Wednesday of the month once a month.

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Speaker 1: Okay, So yeah, so Pembroke City Limits. Of course, if

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you haven't checked it out, please do. It's an amazing place.

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Rob az Avito of course also a very important part

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of the WMNH family. I think he was here before

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I started my show. Actually, I think before I came here.

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Speaker 2: That's a long time.

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Speaker 1: So it's been nearly a decade. Yeah, Rob of course

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host granted State of Mind, which you can hear Fridays

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at six pm here at wm ANDH and also of

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course if you go to the if you go to

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WMNH Radio dot org, you can get it on demand.

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But I think now he's actually interviewing people at PCL

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is what it sounds like. There's live a lot of

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live performances in the show, so.

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Speaker 2: Heats us a ton of different events there. I mean

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they had something I think it was last Sunday where

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was basically bring a plant to take a plant, so

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real people bringing live plants. He does so many things

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to get people in there, and it's really really interesting.

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So yeah, the event would be you would bring a

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live plant that you'd want to donate to somebody, and

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then almost like a pot luck, but with plants, yeah,

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potted potted plant luck if you will, and so different

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things like that.

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Speaker 1: Yeah.

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Speaker 2: Then of course they do trivia there, they do, I

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believe they do some comedy. There's a ton of musicians

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that play there. Yeah, he just he hosts a lot

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of different, really interesting and varied events. It's and it's

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a really really nice venue. It's really cozy. The people

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there are super super nice.

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Speaker 1: Yeah. Yeah, yeah, it's really becoming the time it's been open,

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it's been at least two years now, right, maybe there's

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been two years about that, I believe, so yeah, yeah,

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I mean it's it's become such an important part of

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the scene here.

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Speaker 2: And then a couple of doors away he has a

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record store selling vinyl. I haven't made it in there yet.

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I got to get there.

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Speaker 1: I got I got to do that too.

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Speaker 2: Yeah, I got to turn that out.

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Speaker 1: Yeah, absolutely absolutely.

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Speaker 2: So Now have you been have you played anywhere else?

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Or has that kind of been your your smory into

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getting back into playing live or correct? That's correct. I

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just want to get It's it's kind of ironic because

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I'm finding I'm needing to get over nervousness really, which well,

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you know, I haven't performed live, really performed anywhere other

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than the radio show, which you know, Peter's been super

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kind to have me on, and you know, perform here

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and there. Yeah, but other than that, you know, I

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moved to New Hampshire twenty five My wife and I

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moved to New Hampshire twenty five years ago. And you know,

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I moved here, got a real job, had to be

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you know, a real grown up, grown up, and you know,

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bought a house and had to pay the bills. So

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I kind of had to back burn or the music

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for a quarter decade. Now. Granted, if I it's not

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that I didn't want to. I was gonna say, if

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I really wanted to, I could have gotten out there

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and stillmed. But you know, I moved up here. It

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was like a whole different life. You know, I had

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all my contacts and colleagues back home in New York

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and I didn't know it. Literally didn't know anybody up here.

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So just starting a new life. I'm not in a

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witness protection program or anything like that.

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Speaker 1: It was just, uh, which is exactly what you would

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say if you were in the witness protection program.

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Speaker 2: M very interesting. So so anyway, fast forward a quarter century.

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You know, it's a blink of an eye. Man, you

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just can't believe it. And all the whole time, I

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just my goal was that when I was able to

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get back to it, I was going to get back

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to it because you know, I was a music major

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and really music has been my life since I was

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a child. And so here I am, you know, kind

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of getting out there again, and it's it's it's a

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whole other world, you know, with technology. I mean, when

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I was in you know, performing in and solos, you know,

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you'd want to you found a venue that you'd want

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to perform at, you know, and you'd take your eight

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by ten glossy with your press kit and a cassette tape,

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you know, with a demo with three songs on it,

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and and you'd get your foot in the door.

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Speaker 1: You know.

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Speaker 2: Now it's like, you know, that's the biggest hurdle for

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me is and not that I mean I'm good with technology.

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It's just now getting you know, preparing so to speak,

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a resume, an online resume and getting it out there.

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So it but you know, it's it's it's kind of

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fun too, because it's it's a whole new a whole

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new world for me. Yeah, it's kind of ironic because

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you know, you've, like your first guest. Both your guests

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that you had on today were were terrific. By the way,

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interesting common thread among the three of us. Yes, we

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all have accents, so that's true. That's true. I got

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my coffee here. You're a you're a real New york

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I got my coffee. And by the way, shout out

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my friend Denise. She's listening in Ocalla, Florida today. Denise

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was a coworker who lived in Nashua. She was Manchester

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native and just recently also retired and made the move

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to Florida. Oh okay, so loaded Denise down in Florida.

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I hope you're keeping warm down there because we're not.

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Speaker 1: Yeah. Well, I don't know if most of the country

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is this sweek und Well, yeah, I think.

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Speaker 2: There was snow, even parts of Florida.

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Speaker 1: I heard really, Yeah, I believe it. Yeah, huge, huge storm.

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I'm remaining I don't know if you heard me saying

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this earlier in the show. I'm remaining cautiously oppiatistic that

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it's not going to be that bad here.

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Speaker 2: Yeah. I was laughing because when you said I don't know,

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we're not going to get like two feet, and I'm thinking, yeah,

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just a foot and a half. Yeah, yeah, well that's

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better better than two feet.

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Speaker 1: Yeah, yeah, absolutely.

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Speaker 2: That's definitely a case where less is more. Yeah. When

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it comes to snowfall, I love the snow. I mean

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I actually love the winter. Autumn and winter. I love

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It's just like, I'm kind of very very sentimental person.

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I think it's my heritage of I'm first generation Italian

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born here. Yeah, and so we're just like naturally emotional

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sentimental people. And to me, like the autumn and winter

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is like very very sentimental, you know, melancholy, and I

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just love it.

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Speaker 1: I don't like the melancholy, No, I do like I

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see the leaves falling, and I just reminds me of death. Well,

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it's all death.

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Speaker 2: You know. There can't be life without death. It's all

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the circle, you know.

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Speaker 1: Oh, we do have a call. Let's let's see who's

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on the line here. Hi, Welcome to Matt Connorton Unleashed.

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Is this.

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Speaker 2: The ghost caller? Uh?

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Speaker 1: Oh, the phantom thanks for calling. Oh I don't know

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who that was. Might have been, might have been another

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New Yorker who got a little shy. There's no such

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thing calling the big time radio show. You know, they

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got a little nervous there, shy New Yorker. Actually, when

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I was younger, I was I couldn't talk to anybody.

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I really, really, really shy.

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Speaker 2: It broke probably about sixteen seventeen where I started like

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being more outgoing.

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Speaker 1: I can relate to that. I was painfully shy growing up. Well,

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I'm an introvert by nature, which surprises some people because

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they'll people who don't understand introverts. I'll say, well, how

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can you host a radio show and you've played in

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bands and all this stuff, And it's like, well, when

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you're an introvert, any kind of a performance situation is

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actually easier than human interaction on a just on a

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purely social level.

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Speaker 2: It's quite common with actors, comedians, musicians, it is quite common.

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But from a person that is not in the arts,

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so to speak like that, it's hard. It's like on

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the surface, it doesn't make sense, right, right, Yeah, but

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it happens.

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Speaker 1: Like I tell everybody, this is where I feel the

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safest in the world is behind a microphone. Yeah, you know,

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whether it's in a radio station or it's like I'm

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very comfortable with public speaking. You know, I can do

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all that, but I don't. But I don't go to parties.

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I don't want to do that. I don't want to

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mingle with people.

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Speaker 2: See I could, I could do both. I have no problem.

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Well again, I think it's part of being from New

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York City, always being in crowds. It's just like I

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actually feel less comfortable in like small, like smaller situations. Yeah. Yeah,

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so I'm just I'm very comfortable in multi integrated situations

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with different people.

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Speaker 1: Yeah.

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Speaker 2: Like I hate to put it this way, but like

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when I went to Maine for the first time. I

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was playing with one of my bands and we went

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up to Brewer, Maine to play for the whole week.

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We did that a couple of times at this place,

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Stacy's Lounge in Brewer, and uh, it was almost like

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we went to the Banger Mall and I felt uncommon,

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like there's nothing but white people here. I mean, I

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hate to bring the subject out. It's I'm not saying

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it like in a bad way, but it was uncomfortable

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for me because it didn't feel natural.

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Speaker 1: That makes you know what I mean? That makes sense.

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Speaker 2: I mean it wasn't a bad thing, it just was

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it was odd for me.

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Speaker 1: We have a we have a call person who called earlier.

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Hi are you there?

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Speaker 3: Hi?

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Speaker 1: Oh, who's this?

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Speaker 4: This is just a fan of Brooklyn Mike.

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Speaker 1: I know that voice. I thought I thought it might

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be somebody else.

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Speaker 4: Calling, but it's it's an anonymous fan.

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Speaker 1: That it's an anonymous fan. We have an anonymous fan

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on the line of Brooklyn Mike. You have anonymous fans.

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So you're already having a lot of success.

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Speaker 2: Yeah, we'll see that. That proves it. Nobody wants to

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admit it.

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Speaker 4: Brooklyn Mike. You are also a new co host on

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one of the radio shows. There is that correct.

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Speaker 2: Yes, the host of that show was quite kind to

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invite me on a regular basis.

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Speaker 1: Oh, Paul, Paul Cormier.

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Speaker 2: Paul Cormier. Yes, I've very much appreciate that.

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Speaker 4: Yes, yes, I was just kidding. Guys. It's me. It's me.

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Speaker 2: Oh, it's Paul, Matt, It's Paul. See. I didn't recognize

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his voice. I thought it was somebody else at me.

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I thought it was one of those famous people.

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Speaker 1: Yeah, yeah, he's it's different on the phone. You know

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what saying I had you going, but you did. Are

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you usually like one of those voice changer things.

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Speaker 4: No, No, it's just the real McCoy. What you see

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is what you get.

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Speaker 1: It's amazing. Well, we can't see you, that's why we

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didn't know it's you.

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Speaker 4: Well, yeah, that's why I'm actually calling. I was actually

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stepping out. I did my my errands this morning, and

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I was tuning in and I loved the uh the

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Irish guy there I had from Ireland.

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Speaker 1: Oh yeah, yeah yeah. He was wonderful.

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Speaker 4: Yeah, and his song was fantastic.

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Speaker 1: Yeah yeah, yeah, no, he was. He was amazing. Uh

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Ca hal Fits. I still don't know if I'm saying

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his first name correctly, but he said I was. He

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might have just been being kind.

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Speaker 4: Maybe he was being kind, he man, Maybe.

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Speaker 1: I feel like I'm saying it wrong.

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Speaker 4: So I went out. I went out this morning. I

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ran my errands and I was listening in and I'm like, hey,

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I'm gonna go win at eleven. And then I got

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home probably about half an hour ago, and I was

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venturing back out and it's too damn cold out there.

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Speaker 2: Man, don't blame you. It was like thirteen below at

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the Windshill.

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Speaker 4: Yeah yeah, yeah, I'm sitting here now and with a

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hot cup of coffee, looking forward to hearing some acoustical

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jams from the fabulous Brooklyn Mike Platino.

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Speaker 2: Oh, thank you, Paul.

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Speaker 1: Yes, yes, you said his real last name. He's just

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stocks him.

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Speaker 5: Yeah.

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Speaker 4: I even spell it right too.

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Speaker 1: Yeah.

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Speaker 4: He spelled it out to me once, and I and

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I and it's Stocked.

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Speaker 2: It just took like two or three times to pronounce

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it properly, which is not unusual. I believe me. It's

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been pronounced all different ways. The bad thing about having

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a name like you know, a surname like that that's

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somewhat unique. So is that I can't say, well it

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was It wasn't me. It was the other mic Platino, right,

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that's right, I forget. Actually there were I found another

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mic Platino, which I was very proudly in New Jersey

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as a dentist. Oh really Yeah, and sometimes I get

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his mail, which is kind of funny.

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Speaker 1: Oh that is fine, That is fine. Yeah, there's another

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Matt Connorton right here in New Hampshire. But he's my

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so that all right. It kind of doesn't count.

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Speaker 4: Here we get one of his paychecks. You just go

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to the bank wearing a Johnny Oh the thing. Yeah,

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I'm doctor Platina GDS. Yep, quere scrubbed.

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Speaker 1: There you go.

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Speaker 2: You're always thinking, Paul.

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Speaker 4: That's right. All right, Well, I'm going to be sitting

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here enjoying your interview. And uh, it's always nice to

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hear book of Mic on no matter what show he's on.

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And Matt love your show. I'm your biggest fan. I

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didn't know if you knew that, but yeah, I did

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not know.

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Speaker 1: I appreciate that, Polly C.

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Speaker 4: Thank you you will sometimes.

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Speaker 2: All right, all right?

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Speaker 1: That was the great policy from Retrospect Radio with poly C,

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which you can hear every Friday night live here at

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WMNH ninety five point three FM from eight to ten pm.

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Of course, Brooklyn mic is, now are you with us

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every week on that like officially every week now on

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that show?

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Speaker 2: Oh?

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Speaker 1: Oh for some reason, why can't I hear you? Oh?

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I know why? Sorry, I figured it out. Say that again.

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Speaker 2: Yep, yeah, yeah, that is correct. Paul invited me. He

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called me about two weeks ago and he said, listen

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because usually at the end of each program that I've

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been on, we have a conversation like do you want

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me to come back next week, and he says, well,

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do you want to come back? So he called me

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about two weeks. He says, listen, instead of having this

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conversation every week, if you he says, I like, I

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like having you on the show. If you'd like to

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be on, let's just make you like a permanent co host,

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as you put it. Yeah, And I said it would

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be my pleasure, you know.

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Speaker 1: Yeah, Yeah, I think it's great because we had a conversation.

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I don't think he'll mind me saying this, because I

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think it was just he and I in the room

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after everyone else had left last night. But he said

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to me, he said, I really like this screw you

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know that we have right now on retrost feels.

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Speaker 2: I mean, I'm new to it, but it feels real nice,

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real comfortable, real natural.

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Speaker 1: Yeah. Yeah, good, I'm glad. I'm glad. Well, geez, you

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want to play something, uh for for people who uh

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for people who have not heard you? Yeah, if you

346
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are just joining us Brooklyn Mike is here. He is

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a real New Yorker. Let me turn that guitar up there.

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Speaker 2: I don't know what you mean by it.

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Speaker 1: It's a little it's a little inside but if you know,

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you know, some of our listeners know what I mean.

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And real new Yorkers are the most amazing people from

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what I'm told, Like, there's nobody else on earth quite

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like a real new Yorker.

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Speaker 2: Really, I mean, we have a president who's a real

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New York Look how great he is there?

356
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Speaker 6: You.

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Speaker 1: I just threw up in my mouth. I swallowed it

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back down though, because I'm a professional. I got the

359
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burning sensation in the throat, but I'm okay, you know

360
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how to deal with it. I got water here, I'm

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all right.

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Speaker 2: So I think maybe we'll start off with this song here.

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So I had mentioned that you you had a interviewed

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John Poussett Dart. Yes, like I said, that was a

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in my opinion, great feather in your cap. Oh thank you, Yeah,

366
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I was great interview. I really loved it. And I've

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been a fan of John Poussett's art, the Pussette Dart

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Band since at least nineteen seventy five. I have like

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all their albums and I've seen them in concert quite

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a few times. Okay, wow, and is this song that

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I've always done of his? I really like it and

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I think it's quite apropos for today, at least the

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title of it is. It's entitled winterness.

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Speaker 1: Okay, well that is apropos.

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Speaker 2: I've a shot here all.

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Speaker 3: Right, watching the rain fall down, thinking about San Francisco.

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Speaker 2: It all leaves me just about right he.

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Speaker 3: Lana wake last night and felt real nice having you

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hear instead of there tension and all living with many.

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Speaker 2: Buts to living alone. It's the circle of seasons.

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Speaker 3: It's both sides of the street. Sure is funny to

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listen to someone's song for so long, just like.

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Speaker 7: An old friend.

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Speaker 2: Now it's nice to have you back again some.

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Speaker 3: Wonder and wonder and wonder and wonder and wonder and

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wander and wind poll back this way again. Winterness, subtle

387
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bliss now just about missus me sure enough, ya ye.

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Speaker 2: Yelling ye yu.

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Speaker 7: Yu yu yu.

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Speaker 2: Say. It's a circle of seasons.

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Speaker 3: It's both sides of the street. I'm just watching the

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rain fall down, just thinking about San Francisco. It all

393
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leaves me just about right here.

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Speaker 2: I ain't gonna know where.

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Speaker 3: It all leaves me just about right here. Don't go

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where it all leaves me just stoop out right.

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Speaker 2: He hmm.

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Speaker 1: That's great, That is great, Brooklyn Mike is here with

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us live in studio. If you're just joining us, and uh,

400
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you know it's funny. As much as I don't like Winter,

401
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I really like that song or your rendition of it anyway,

402
00:20:23,599 --> 00:20:26,640
Thank you, Yeah, yeah, absolutely absolutely If you Alrea just

403
00:20:26,720 --> 00:20:29,039
joining us. We have Brooklyn Mike here on Matt Connorton

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unleashed on this uh very cold Saturday morning, Saturday, of course,

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January twenty four, twenty twenty six, and we are live

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from the studios of wmn H ninety five point three

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FM's what's the most because you know, as I'm listening

408
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to you sing that, it just occurred to me. I

409
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don't know if I've asked you this before. What's the

410
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most challenging thing to sing? It's kind of in your

411
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repertoire of songs that you do. Is there something that's

412
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particularly challenging for you to sing?

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Speaker 2: Just sing? Well, I'll put it this way. If I

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don't feel that I if I, personally, in my opinion,

415
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don't feel that I could do a song justice, as

416
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much as I might like the song, I won't do it.

417
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I have to feel that I can render an acceptable,

418
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acceptable to me rendition of the song both playing wise

419
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and you know, the total execution the singing I try

420
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to keep I was having this conversation with Glenn last night,

421
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is that one of the things that I enjoy and

422
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I find the most challenging is you know, being soloist

423
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only playing you know, rhythm guitar and singing. You know,

424
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you're replicating something that was generally you know, on an

425
00:21:44,519 --> 00:21:48,519
album with you know, full production, So to replicate it

426
00:21:49,079 --> 00:21:52,000
and be able to fill all the spaces, you know,

427
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without getting too crazy. But I like to keep it

428
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as true to the recording as I can, so I

429
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hope and like, so you've never heard that song before,

430
00:22:02,200 --> 00:22:05,160
and now if you go out and search that song

431
00:22:05,240 --> 00:22:09,160
out and you hear it the recording, I want it

432
00:22:10,200 --> 00:22:13,440
what you heard me do be like what you hear

433
00:22:13,480 --> 00:22:15,880
on the record. If that makes any sense, No, it does,

434
00:22:15,920 --> 00:22:19,200
it does. And it's not because I want to be

435
00:22:19,319 --> 00:22:25,240
like a copycat. It's just my approach is to keep

436
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the songs as true to the recordings. Number one, to

437
00:22:29,480 --> 00:22:33,960
honor the artist and their vision of the song, which

438
00:22:34,599 --> 00:22:39,160
oftentimes is the songwriter themselves. And there's nothing wrong with

439
00:22:39,400 --> 00:22:41,599
you know, doing different versions of you know, people do that.

440
00:22:41,640 --> 00:22:44,960
They'll do a different take on songs. That's not my approach.

441
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And then the other thing is too that if if

442
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a person in the audience is hearing a song that

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they know, and they know it off the record, it

444
00:22:58,599 --> 00:23:05,359
sounds more familiar if it's performed as close to the

445
00:23:05,400 --> 00:23:08,720
recording as possible. I think people like that. They like

446
00:23:08,799 --> 00:23:13,079
that familiarity because I know a lot of times artists

447
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and I understand this. I'll just say James Taylor, for example,

448
00:23:16,480 --> 00:23:18,400
We'll go out and do Fire and Rain, but he'll

449
00:23:18,440 --> 00:23:20,279
do it like a little differently than he did it,

450
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you know, in nineteen whatever, seventy one, because he's done

451
00:23:23,279 --> 00:23:27,200
it's seventeen gazillion times. So for his own sanity, he

452
00:23:27,319 --> 00:23:30,000
changes it a little bit, or he these the song

453
00:23:30,480 --> 00:23:33,440
for the songwriter evolves a little bit and they change it.

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And some people in the audience enjoy that because it's

455
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it's something different. But I know there are people that

456
00:23:40,680 --> 00:23:42,920
don't like that. It's like, oh, why is he doing

457
00:23:43,000 --> 00:23:47,039
it differently? So you know, you can't please everybody, right,

458
00:23:47,079 --> 00:23:49,799
so I have to do what I feel comfortable with.

459
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And my approach has always been to try to replicate

460
00:23:53,880 --> 00:23:58,160
the original sound as well as closely as I humanly

461
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can with my abilities.

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00:24:00,960 --> 00:24:04,279
Speaker 1: I think sometimes too, artists will change, you know, especially

463
00:24:04,319 --> 00:24:06,920
someone uh, James Taylor. He's going to be in his

464
00:24:06,960 --> 00:24:12,279
eighties right, Sometimes artists will will change over time what

465
00:24:12,359 --> 00:24:16,119
they do because just out of sheer necessity. So I'll

466
00:24:16,119 --> 00:24:19,079
give you a just a random example. So Kiss, And

467
00:24:19,119 --> 00:24:20,759
for those watching the video appen, you know, Kiss is

468
00:24:20,759 --> 00:24:26,880
my favorite band, so I I never that, right, but

469
00:24:26,880 --> 00:24:29,359
but Kiss is an example of over over the years,

470
00:24:29,400 --> 00:24:32,240
at a certain point they started changing the tunings, and

471
00:24:32,279 --> 00:24:34,119
a lot of rock bands do this where they're they're

472
00:24:34,119 --> 00:24:37,039
playing these songs in a lower tuning so that they're

473
00:24:37,079 --> 00:24:38,880
a little yeah, so that they're a little bit easier

474
00:24:38,880 --> 00:24:42,960
to sing voice to hit those notes, and most people

475
00:24:43,039 --> 00:24:46,839
probably don't notice. For someone like me who does notice,

476
00:24:47,000 --> 00:24:50,839
I actually like that with that genre. I think that

477
00:24:50,960 --> 00:24:53,680
works really well because when you when you tune down

478
00:24:54,200 --> 00:24:56,279
that it actually makes the songs a little bit heavier.

479
00:24:56,680 --> 00:24:58,680
And I like that I want because I want them

480
00:24:58,680 --> 00:25:01,480
to be heavy. I kind of on certain songs it's like, oh,

481
00:25:01,519 --> 00:25:03,720
I like that and that I like that tuned down.

482
00:25:04,039 --> 00:25:05,920
But I think, but I wonder too, even you know,

483
00:25:05,960 --> 00:25:08,400
even somebody like James Taylor, I wonder if if maybe

484
00:25:08,640 --> 00:25:10,359
some of these songs have changed over the years just

485
00:25:10,400 --> 00:25:11,799
out of necessity.

486
00:25:11,319 --> 00:25:14,039
Speaker 2: He does. I there's one song that I do three

487
00:25:14,079 --> 00:25:16,960
of his songs, and one of the songs, as I

488
00:25:17,039 --> 00:25:21,359
was learning it, i've you know, I know the original recording.

489
00:25:21,599 --> 00:25:25,000
That's the other thing is that I the vast majority

490
00:25:25,039 --> 00:25:26,599
of the songs that I do, which I don't have

491
00:25:26,640 --> 00:25:28,160
a repertoire of, I don't know one hundred and twenty

492
00:25:28,200 --> 00:25:31,640
songs I do in the original keys. Yeah, and so

493
00:25:31,720 --> 00:25:34,279
that's a challenge for me too. Once in a while,

494
00:25:34,319 --> 00:25:37,319
I could think of Right now, I can only think

495
00:25:37,359 --> 00:25:40,519
of two songs that I do in different keys than

496
00:25:40,559 --> 00:25:45,799
the original recordings. And that's just to accommodate my voice, right,

497
00:25:46,720 --> 00:25:49,480
my vocal range. I'm a tenor, so I tend to

498
00:25:49,559 --> 00:25:51,720
have a higher voice, although as I'm getting older, it's

499
00:25:51,759 --> 00:25:53,720
like it's kind of odd I could sing lower.

500
00:25:53,799 --> 00:25:56,039
Speaker 1: Well, that's the thing too, your voice changes, Yeah, yeah,

501
00:25:56,079 --> 00:25:56,400
but I.

502
00:25:56,319 --> 00:25:59,279
Speaker 2: Could still sing you know, I have a strong falsetto,

503
00:25:59,480 --> 00:26:02,880
so yeah, you know that comes in handy. But James Taylor,

504
00:26:02,920 --> 00:26:04,920
as an example, one of the three songs of his

505
00:26:05,000 --> 00:26:07,200
that I do, uh, I learned it, you know, from

506
00:26:07,240 --> 00:26:10,359
the original recording, and then I've seen him do it

507
00:26:10,839 --> 00:26:13,920
more recently and he does it a half step half

508
00:26:13,920 --> 00:26:17,839
step higher, does half step higher. Yeah, it's kind of interesting.

509
00:26:18,000 --> 00:26:18,200
Speaker 1: Yeah.

510
00:26:18,359 --> 00:26:21,680
Speaker 2: Yeah, he's a baritone. Okay, James Taylor is a baritone.

511
00:26:21,720 --> 00:26:23,599
It's funny because I heard him say that he doesn't

512
00:26:23,640 --> 00:26:27,319
consider himself at all a good singer and he wishes that. Yeah,

513
00:26:27,319 --> 00:26:30,279
he wishes that he were more of a tenor than

514
00:26:30,279 --> 00:26:32,079
a baritone so he could sing higher.

515
00:26:32,160 --> 00:26:32,960
Speaker 1: Oh that's interesting.

516
00:26:33,039 --> 00:26:35,039
Speaker 2: Yeah, yeah, I thought that was interesting to hear him

517
00:26:35,079 --> 00:26:35,359
say that.

518
00:26:35,559 --> 00:26:37,759
Speaker 1: Yeah. No, I think he's a very good singer. I mean,

519
00:26:37,799 --> 00:26:40,119
I think he's a great songwriter. Oh yeah, do you

520
00:26:40,200 --> 00:26:41,599
want to do something from James Taylor?

521
00:26:41,680 --> 00:26:45,000
Speaker 2: Yeah, let's switches do that song that I'm talking about.

522
00:26:45,079 --> 00:26:45,920
Speaker 1: Yeah, I'm curious.

523
00:26:46,079 --> 00:26:49,319
Speaker 2: It's called uh, Don't let Me Be Lonely Tonight.

524
00:26:49,599 --> 00:26:50,039
Speaker 1: Okay.

525
00:26:50,880 --> 00:26:54,319
Speaker 2: I toeld this little anecdote on Peters on the Morning Show.

526
00:26:56,000 --> 00:26:59,240
Every time I hear this, you know how like sometimes

527
00:26:59,279 --> 00:27:03,359
a song can just spark a very very specific memory,

528
00:27:03,960 --> 00:27:06,599
not just of a time period or year, but like

529
00:27:06,640 --> 00:27:11,359
a very specific and this song, this song, the recording

530
00:27:11,400 --> 00:27:14,599
has a sax solo tenor sax solo toward the end,

531
00:27:15,319 --> 00:27:20,000
and it was late seventies and I was working in

532
00:27:20,039 --> 00:27:22,920
a pizzeria, which I did from like nineteen sixty eight

533
00:27:23,000 --> 00:27:26,480
to nineteen eighty one. But I was working at pizzeria.

534
00:27:27,400 --> 00:27:30,279
In the kitchen, we had a radio on the shelf

535
00:27:30,319 --> 00:27:34,119
and had you know, rock station on or whatever FM station,

536
00:27:34,680 --> 00:27:36,400
and this song came on and it was the dead

537
00:27:36,400 --> 00:27:40,400
of summer, and right as the sax solo was about

538
00:27:40,440 --> 00:27:42,640
to start, we had a blackout. It was in the

539
00:27:42,680 --> 00:27:46,000
middle of the afternoon, and I just always remember, right

540
00:27:46,039 --> 00:27:49,640
as the sax solo was going to start, everything went out,

541
00:27:49,640 --> 00:27:52,400
the refrigerators went off, the lights went out, and like

542
00:27:52,440 --> 00:27:55,160
every time I hear the song, I remember that. So

543
00:27:55,680 --> 00:27:58,440
but I will admit that in my rendition, I will

544
00:27:58,480 --> 00:27:59,799
not be doing the sax solo.

545
00:28:00,079 --> 00:28:03,200
Speaker 1: Okay, fair, I think that's fair. You get that guitar

546
00:28:03,319 --> 00:28:08,160
up there, swig of water here, No, no, no sacks solo,

547
00:28:08,480 --> 00:28:10,880
no to if you're just doing us. We have Brooklyn

548
00:28:10,880 --> 00:28:14,480
Mike here with us live in studio on this very

549
00:28:14,680 --> 00:28:18,279
very very bitterly cold hopefully it's the coldest day of

550
00:28:18,279 --> 00:28:19,720
the year, because I don't want it to get any

551
00:28:19,759 --> 00:28:20,720
colder than this. Certainly.

552
00:28:20,759 --> 00:28:20,920
Speaker 4: Yeah.

553
00:28:20,920 --> 00:28:23,440
Speaker 2: I think this is this is about as cold as

554
00:28:23,480 --> 00:28:27,640
we get generally. Yeah, all right, let's give this baby

555
00:28:27,680 --> 00:28:28,160
a shot.

556
00:28:28,079 --> 00:28:30,319
Speaker 1: All right, looking forward to this. I love James Taylor.

557
00:28:36,599 --> 00:28:37,160
Speaker 2: That too loud?

558
00:28:37,480 --> 00:28:43,079
Speaker 1: Nope, Nope, that's great, really okay, do me.

559
00:28:43,279 --> 00:28:52,720
Speaker 3: Wrong, to me right, tell me lies, but me tight.

560
00:28:55,039 --> 00:29:00,440
Save your goodbyes for the morning light. But don't let

561
00:29:00,599 --> 00:29:12,440
me be lonely tonight. Say goodbye and say hello, sure enough,

562
00:29:12,519 --> 00:29:18,880
good to see you, but it's time to go. Don't

563
00:29:18,960 --> 00:29:22,160
say yes, but please don't say no.

564
00:29:23,000 --> 00:29:26,079
Speaker 2: I don't want to be lonely tonight.

565
00:29:28,920 --> 00:29:33,640
Speaker 3: Go away, and Tam, go on and do as you

566
00:29:33,759 --> 00:29:38,880
please here. You ain't gonna see me getting down on

567
00:29:38,920 --> 00:29:46,319
my knees. I'm undecided, and your heart's been divided. You've

568
00:29:46,319 --> 00:29:56,519
been turning my world upside down now, So do me

569
00:29:56,720 --> 00:30:02,480
wrong and do me right right now, baby, go on

570
00:30:02,680 --> 00:30:08,359
and tell me lies, but hold me tight. Save your

571
00:30:08,400 --> 00:30:13,200
goodbyes for the morning light, morning light, but don't let

572
00:30:13,400 --> 00:30:22,759
me be lonely tonight. I don't want to be lonely tonight. No, no,

573
00:30:23,799 --> 00:30:26,960
I don't want to be lonely tonight.

574
00:30:33,200 --> 00:30:37,759
Speaker 1: Beautiful, beautiful Brooklyn Mike here on the show This morning you.

575
00:30:37,839 --> 00:30:43,079
That's great. That's great. Now, So the next just for

576
00:30:43,079 --> 00:30:46,079
people who are joining us now, so you're gonna be

577
00:30:46,480 --> 00:30:47,759
when's the next open my kid?

578
00:30:47,880 --> 00:30:52,799
Speaker 2: Is it in February? February February fourth, first Wednesday of February.

579
00:30:52,279 --> 00:30:56,759
Speaker 1: At Pembroke City Limits of course, which uh uh. Rob

580
00:30:56,799 --> 00:30:58,799
as a veto who also hosts a great Est State

581
00:30:58,839 --> 00:31:01,119
of Mind here on WM and A. So Rob's been

582
00:31:01,400 --> 00:31:03,160
a part of the you know, a very important part

583
00:31:03,160 --> 00:31:05,640
of the music scene here for a long time. So

584
00:31:05,680 --> 00:31:07,880
that's that's great. Now have you been Have you been

585
00:31:07,920 --> 00:31:10,160
doing any other open mics anywhere else or.

586
00:31:10,359 --> 00:31:13,559
Speaker 2: No, I'm looking into it. I was actually over at

587
00:31:13,559 --> 00:31:18,039
the Mocha pot and talking to the gal down there.

588
00:31:17,839 --> 00:31:20,119
They're thinking of starting to do some open mics. Actually

589
00:31:20,160 --> 00:31:23,279
in February they're going to start doing a comedian open mics.

590
00:31:23,359 --> 00:31:23,960
Speaker 1: Oh no kidding.

591
00:31:24,039 --> 00:31:27,000
Speaker 2: Yeah, So that'll be fun and we.

592
00:31:26,920 --> 00:31:33,599
Speaker 1: Need more of that, yeah, need more laughter in general. Oh,

593
00:31:33,759 --> 00:31:35,400
very cool. Now, when you do the open mics, what

594
00:31:35,400 --> 00:31:36,039
do you what do you do?

595
00:31:36,160 --> 00:31:36,240
Speaker 2: Like?

596
00:31:36,319 --> 00:31:38,880
Speaker 1: Do you do you kind of mix it up or

597
00:31:38,920 --> 00:31:40,359
do you try ou different things kind of read the

598
00:31:40,359 --> 00:31:40,920
crowd or.

599
00:31:41,720 --> 00:31:45,319
Speaker 2: I try to It's it seems like they've the way

600
00:31:45,359 --> 00:31:48,920
it's been two times. It's like they allow you three songs. Okay,

601
00:31:49,680 --> 00:31:52,119
So I just I don't know. I've picked three songs

602
00:31:52,119 --> 00:31:54,799
that I feel most comfortable with. Like I said, I'm

603
00:31:55,039 --> 00:31:58,680
still getting over the nervousness. Yeah, I didn't finish that conversation.

604
00:31:58,720 --> 00:32:01,880
It's kind of ironic because I got into the whole

605
00:32:01,880 --> 00:32:04,079
thing about moving to New Hampshire. But before I moved here,

606
00:32:04,720 --> 00:32:09,039
for over fifteen years, almost twenty years, I largely made

607
00:32:09,079 --> 00:32:12,400
a living, you know, performing in bands and solos, and

608
00:32:13,200 --> 00:32:16,400
I'd literally performed in front of almost twenty thousand people,

609
00:32:16,440 --> 00:32:19,359
you know, very large crowds. Wow. Never bothered me, you know,

610
00:32:20,720 --> 00:32:22,759
you know, I was just so. Also, when you're younger,

611
00:32:22,799 --> 00:32:26,519
I think you're less, you have less inhibitions.

612
00:32:26,720 --> 00:32:29,079
Speaker 1: Depends on the person, Yeah, I think some people. For

613
00:32:29,119 --> 00:32:31,400
some people, I think it's the opposite. Uh you know,

614
00:32:31,440 --> 00:32:33,839
because some people as they get older, they they become

615
00:32:33,880 --> 00:32:36,920
more just kind of secure, like like they're not as

616
00:32:36,920 --> 00:32:38,400
worried about some of the things that they were when

617
00:32:38,440 --> 00:32:38,920
they were younger.

618
00:32:38,960 --> 00:32:41,240
Speaker 2: In terms of I think for I should I should

619
00:32:41,240 --> 00:32:44,920
specify for me, it's it's in terms of performing, okay,

620
00:32:45,039 --> 00:32:48,920
not just in general generally in life, Like, yeah, I'm comfortable,

621
00:32:49,200 --> 00:32:51,519
Like I talk to strangers all the time. I have

622
00:32:51,599 --> 00:32:55,119
no problem speaking with anybody or But because I take

623
00:32:55,160 --> 00:32:59,240
the performing so seriously, like I'm so worried about screwing up. Yeah,

624
00:32:59,440 --> 00:33:01,680
and I just you know, want to make a good impression.

625
00:33:01,759 --> 00:33:02,799
Speaker 1: I just that makes sense.

626
00:33:02,880 --> 00:33:03,640
Speaker 2: Yeah, it's like that.

627
00:33:03,960 --> 00:33:04,599
Speaker 1: Yeah.

628
00:33:04,960 --> 00:33:10,559
Speaker 2: So, and I was doing it on such a regular basis.

629
00:33:10,680 --> 00:33:13,079
I mean there were times where I was in a

630
00:33:13,119 --> 00:33:15,799
band where we were doing over thirty jobs a month,

631
00:33:16,000 --> 00:33:20,960
you know, while we were out all the time. Yeah. Yeah,

632
00:33:21,000 --> 00:33:22,680
and then you know there were slow times too.

633
00:33:22,960 --> 00:33:23,160
Speaker 1: Yeah.

634
00:33:23,319 --> 00:33:25,799
Speaker 2: So now it's like just starting all over. It's almost

635
00:33:25,839 --> 00:33:28,119
like starting for the first Like I have all this

636
00:33:28,240 --> 00:33:31,400
repertoire that you know, I had to brush up on. Yeah.

637
00:33:31,640 --> 00:33:36,839
But it's it's getting better. As far as the not

638
00:33:36,920 --> 00:33:39,720
being too nervous. Yeah, but I still even coming in

639
00:33:39,759 --> 00:33:41,920
here just you and me, I'm still you know, because

640
00:33:41,960 --> 00:33:44,440
I still I think it's because I take it so seriously.

641
00:33:44,640 --> 00:33:46,759
Speaker 1: No, that's a good thing. That's a good thing. Well

642
00:33:46,799 --> 00:33:48,480
plus two, isn't it good to be a little bit

643
00:33:48,519 --> 00:33:50,000
nervous a little uh?

644
00:33:50,319 --> 00:33:52,160
Speaker 2: I mean yeah, I guess a little bit. I think

645
00:33:52,160 --> 00:33:53,519
I'll keep on your toes a little bit.

646
00:33:53,599 --> 00:33:55,519
Speaker 1: Yeah, And it's just you know, it's kind of you know,

647
00:33:55,599 --> 00:33:57,920
it's because to me, it's a you know, like I

648
00:33:57,960 --> 00:33:59,759
always thought of stage right as being a good kind

649
00:33:59,799 --> 00:34:01,519
of new nervous you know. I don't playing bands anymore,

650
00:34:01,519 --> 00:34:05,039
but when I when I used to, you know, I

651
00:34:05,039 --> 00:34:07,920
I of course say it's right. Works different ways for

652
00:34:07,960 --> 00:34:09,480
different people, but I know for me and for a

653
00:34:09,480 --> 00:34:11,000
lot of people, it would be, you know, I would

654
00:34:11,000 --> 00:34:13,800
be nervous right up to the point of going on stage,

655
00:34:14,239 --> 00:34:16,920
that kind of nervous energy, but then once on stage,

656
00:34:17,079 --> 00:34:19,360
it's like, oh, okay, yeah, this is good, you know.

657
00:34:19,800 --> 00:34:22,199
Speaker 2: And also for me, it's kind of interesting that you

658
00:34:22,199 --> 00:34:24,320
put it that way, like waiting to go on stage.

659
00:34:24,519 --> 00:34:26,880
So all the bands that I worked in, I did

660
00:34:26,880 --> 00:34:29,320
the sound like I had have the sound system, oh yeah,

661
00:34:29,400 --> 00:34:31,679
so like I would get there, you know, before everybody

662
00:34:31,679 --> 00:34:34,159
else and unload the whole sound. So I was already

663
00:34:34,199 --> 00:34:37,880
like you know, in the groove, you know, getting sound

664
00:34:37,880 --> 00:34:40,440
ready and getting all the mics and the yamps and

665
00:34:40,480 --> 00:34:43,119
the you know, the the PA speakers and getting all

666
00:34:43,280 --> 00:34:45,880
you know, hooking everything up. So by the time it

667
00:34:45,920 --> 00:34:49,199
came time to actually you know, put my bass on

668
00:34:49,239 --> 00:34:52,400
my shoulder and start and sing and perform. I was like,

669
00:34:52,760 --> 00:34:55,199
it's like a relief. Yeah, now I could Now I

670
00:34:55,199 --> 00:34:55,760
could have fun.

671
00:34:55,800 --> 00:34:56,000
Speaker 5: You know.

672
00:34:56,440 --> 00:34:58,280
Speaker 2: Yeah, you got all the work out of the way,

673
00:34:58,360 --> 00:34:59,519
you know, right right?

674
00:35:00,159 --> 00:35:00,800
Speaker 1: Did you like that?

675
00:35:00,920 --> 00:35:03,360
Speaker 2: Did you like being I loved it. I loved doing sound.

676
00:35:03,880 --> 00:35:07,840
Yeah that's good because sometimes you know, if there's a

677
00:35:08,079 --> 00:35:10,119
guy in a band who's also the sound guy, they

678
00:35:10,119 --> 00:35:12,280
do it out of they're doing it out of necessity. Yeah,

679
00:35:12,320 --> 00:35:17,039
but no, I volunteered to do it because even it

680
00:35:17,119 --> 00:35:19,440
started right from the very very beginning. The first band

681
00:35:19,440 --> 00:35:22,639
that I was in with my brother, you know, we

682
00:35:22,679 --> 00:35:24,400
went out and bought the sound system, which I had

683
00:35:24,440 --> 00:35:27,840
to supplement as time went on with you know, the

684
00:35:27,880 --> 00:35:30,719
other bands that I was in. But you know, we

685
00:35:30,760 --> 00:35:34,000
had a basic sound system, and I I just volunteer

686
00:35:34,039 --> 00:35:35,760
because I don't know, I just had an ear for

687
00:35:35,800 --> 00:35:39,119
it and I wanted to do it, and nobody else

688
00:35:39,159 --> 00:35:41,239
really wanted to. I was like, I was happy to

689
00:35:41,280 --> 00:35:41,480
do it.

690
00:35:41,599 --> 00:35:42,079
Speaker 1: Yeah.

691
00:35:42,119 --> 00:35:45,719
Speaker 2: And plus you know, I mean I think you know

692
00:35:45,800 --> 00:35:49,159
this very well that no matter how good a band is,

693
00:35:49,199 --> 00:35:52,679
the sound could make or break a band. Sure, And

694
00:35:52,679 --> 00:35:56,679
and I so often go hear bands even just sometimes

695
00:35:56,679 --> 00:36:02,280
like hearing a person doing speaking and it's like, who

696
00:36:02,400 --> 00:36:05,239
is doing sound? Like it's so muffled? Yeah, you know

697
00:36:05,320 --> 00:36:08,119
it's he's so easy to correct it, you know, right,

698
00:36:08,280 --> 00:36:11,800
and so so I enjoyed being able to to do

699
00:36:11,840 --> 00:36:15,119
that and get the sound to my in my opinion,

700
00:36:15,199 --> 00:36:17,719
proper right. And we never had any complaints.

701
00:36:17,840 --> 00:36:20,920
Speaker 1: Yeah, no, that makes sense, that makes sense. Yeah, well

702
00:36:20,960 --> 00:36:21,239
you want to.

703
00:36:21,199 --> 00:36:24,320
Speaker 2: Play another one? Yeah? Sure, how about and see?

704
00:36:25,199 --> 00:36:28,360
Speaker 1: Oh let me get that uh guitar up there?

705
00:36:28,440 --> 00:36:29,920
Speaker 2: Of course you know I got it too. One by

706
00:36:29,960 --> 00:36:31,519
my man Gordon.

707
00:36:31,840 --> 00:36:35,639
Speaker 1: Oh, yes, is he? I know we've talked about this before,

708
00:36:35,679 --> 00:36:37,119
but remind me, is he your favorite?

709
00:36:37,239 --> 00:36:37,480
Speaker 2: Yeah?

710
00:36:37,519 --> 00:36:37,920
Speaker 1: All time?

711
00:36:39,079 --> 00:36:39,840
Speaker 2: Gordon Lightfoot.

712
00:36:40,000 --> 00:36:40,960
Speaker 1: Okay, that's what I thought.

713
00:36:41,079 --> 00:36:43,480
Speaker 2: Referred to him as my hero. And like I said,

714
00:36:43,480 --> 00:36:46,599
I've said, I've was very very fortunate to get to

715
00:36:46,599 --> 00:36:47,880
meet him a few times.

716
00:36:48,159 --> 00:36:48,400
Speaker 1: Yeah.

717
00:36:48,480 --> 00:36:50,480
Speaker 2: So I'm in concert quite a number of times in

718
00:36:50,519 --> 00:36:51,880
New York and also here.

719
00:36:51,800 --> 00:36:53,840
Speaker 1: Like how many times would you say, like double digits?

720
00:36:53,880 --> 00:36:58,440
Speaker 2: Like oh no, no, not that many times. No, probably

721
00:36:58,480 --> 00:37:03,039
half a dozen, maybe more than that, close to ten times.

722
00:37:03,320 --> 00:37:06,159
But you know, I don't have to see somebody every

723
00:37:06,159 --> 00:37:09,920
time they come around. But probably in New York Cle's

724
00:37:10,079 --> 00:37:12,199
one two three. I saw him at Carnegie Hall. That

725
00:37:12,360 --> 00:37:15,679
was a really great concert. I mean, you want to

726
00:37:15,719 --> 00:37:17,679
talk about you know, the old saying you could hear

727
00:37:17,719 --> 00:37:20,880
a pin drop in the audience, you know, and he's

728
00:37:20,920 --> 00:37:27,440
like when he performs, like it's very very controlled, very quiet.

729
00:37:28,519 --> 00:37:32,480
It's just it was. If you've ever gotten to see him,

730
00:37:32,480 --> 00:37:37,719
it was an amazing, amazing experience to support. And yeah,

731
00:37:38,199 --> 00:37:41,360
so just this a little bit of a cautionary tale,

732
00:37:42,159 --> 00:37:49,119
I would say, and cautionary in the respect that if

733
00:37:49,199 --> 00:37:52,920
you happen to have the propensity for talking in your

734
00:37:52,920 --> 00:37:57,000
sleep and you might have some secrets could be an issue.

735
00:37:57,480 --> 00:37:59,800
So this one is entitled talking in your sleep?

736
00:38:00,159 --> 00:38:33,519
Speaker 6: Right, I heard you talking in your sleep?

737
00:38:34,400 --> 00:38:36,559
Speaker 2: Is there anything that I can do?

738
00:38:38,360 --> 00:38:42,800
Speaker 3: I don't believe we've had a word all day about

739
00:38:42,920 --> 00:38:48,519
anything at all. I heard you talking in the night,

740
00:38:49,239 --> 00:38:53,840
that's right. Yes, I heard your call. Well, I could

741
00:38:53,840 --> 00:38:59,039
hardly hear the name you spoke. It's me, I don't recall.

742
00:39:03,719 --> 00:39:11,000
I heard you soly whisper. I reached out to hold

743
00:39:11,639 --> 00:39:16,559
you near me, and from your lips there came that

744
00:39:16,800 --> 00:39:26,559
secret I was not supposed to know. I heard you

745
00:39:26,719 --> 00:39:32,000
talking in your sleep. Is there anything that I can say?

746
00:39:32,800 --> 00:39:38,039
I don't believe we've had a word all thing about anything,

747
00:39:38,239 --> 00:39:38,440
you know?

748
00:39:40,400 --> 00:40:00,519
Speaker 7: Today to day.

749
00:40:10,039 --> 00:40:17,920
Speaker 3: I heard you softly whisper. I reached out to hold

750
00:40:18,079 --> 00:40:23,000
you near me, and from your lips they came that

751
00:40:23,239 --> 00:40:27,079
secret I was not supposed to know.

752
00:40:32,519 --> 00:40:34,679
Speaker 7: I heard you talking in your sleep.

753
00:40:35,440 --> 00:40:40,239
Speaker 3: Is there anything that I can do? I don't believe

754
00:40:40,400 --> 00:40:45,199
you've had a word all day about anything at all.

755
00:40:47,280 --> 00:40:51,360
I heard you talking in the night. That's right, it's

756
00:40:51,639 --> 00:40:55,920
I heard you call, though I could hardly hear the

757
00:40:56,000 --> 00:40:57,440
name you spoke.

758
00:40:58,239 --> 00:40:58,599
Speaker 1: It's me.

759
00:40:58,840 --> 00:40:59,840
Speaker 6: I don't recall.

760
00:41:14,400 --> 00:41:17,360
Speaker 1: Hmm, yeah, I don't know that one. That's us beautiful.

761
00:41:17,440 --> 00:41:21,400
Speaker 2: Yeah, that's an old one that's probably from nineteen sixty six,

762
00:41:21,599 --> 00:41:22,320
goes way back.

763
00:41:22,519 --> 00:41:25,719
Speaker 1: Yeah, wow, when did when did he start? Was that

764
00:41:25,840 --> 00:41:26,840
like the beginning for him?

765
00:41:27,079 --> 00:41:30,400
Speaker 2: He goes back to the fifties? Actually, oh no kidding,

766
00:41:30,400 --> 00:41:32,079
Oh yeah, he didn't realize I started at a really

767
00:41:32,119 --> 00:41:32,639
young age.

768
00:41:32,719 --> 00:41:35,280
Speaker 1: Oh wow, Oh see, I didn't realize.

769
00:41:35,039 --> 00:41:39,079
Speaker 2: The late fifties. But in America, I mean as far

770
00:41:39,119 --> 00:41:41,719
as recordings and getting on the radio, it was probably

771
00:41:41,760 --> 00:41:43,679
about sixty six or so.

772
00:41:43,960 --> 00:41:47,800
Speaker 1: Okay, yeah, and then when did he pass away?

773
00:41:47,920 --> 00:41:53,039
Speaker 2: Was I was May May first, I think of twenty

774
00:41:53,159 --> 00:41:54,320
twenty three.

775
00:41:54,360 --> 00:41:57,079
Speaker 1: Okay, not that long ago. Yeah, and he was he

776
00:41:57,199 --> 00:41:58,599
was kind of performing up to the end.

777
00:41:58,639 --> 00:42:00,639
Speaker 2: Oh yeah, yeah, he was doing like almost one hundred

778
00:42:00,639 --> 00:42:01,159
shows a year.

779
00:42:01,440 --> 00:42:01,679
Speaker 6: Jeez.

780
00:42:01,920 --> 00:42:04,360
Speaker 2: Wow, good eighty four and a half years old.

781
00:42:04,440 --> 00:42:07,679
Speaker 1: Yeah, that's incredible, that's incredible. What was he still able

782
00:42:07,679 --> 00:42:08,559
to sing? Pretty much?

783
00:42:09,000 --> 00:42:11,360
Speaker 2: His voice was shot, was it? Yeah? It was one

784
00:42:11,400 --> 00:42:14,840
of those that unfortunately it was just like a veil

785
00:42:15,199 --> 00:42:16,840
of his former voice.

786
00:42:17,119 --> 00:42:17,719
Speaker 1: Yeah.

787
00:42:17,880 --> 00:42:21,719
Speaker 2: But you know, mixed reviews. I mean people that would

788
00:42:21,760 --> 00:42:23,760
go to see him, that expected to, you know, hear

789
00:42:23,840 --> 00:42:27,760
the Gordon Lightfoot of the nineteen seventies, you know, would

790
00:42:27,800 --> 00:42:30,360
complain about it, why is she still doing shows? But

791
00:42:30,920 --> 00:42:33,159
those of us that really loved him, it didn't matter,

792
00:42:33,199 --> 00:42:35,679
you know, right, because the music was still a hundred

793
00:42:35,719 --> 00:42:37,119
I mean, he was still one hundred percent there with

794
00:42:37,119 --> 00:42:40,440
the music really yeah. Yeah, and he would never never

795
00:42:40,480 --> 00:42:43,760
miss a beat, never miss a lyric, nothing, yeah, you know,

796
00:42:43,800 --> 00:42:45,599
and he still had the guys, I mean the drummer,

797
00:42:46,119 --> 00:42:50,239
drummer and a bassist that played with him for like

798
00:42:50,559 --> 00:42:53,639
through all these decades really yeah, and even the keyboardist

799
00:42:53,719 --> 00:42:56,920
has been with him since like the nineteen eighties, No kidding, Yeah,

800
00:42:56,920 --> 00:42:58,719
the same guy's pretty amazing.

801
00:42:58,760 --> 00:43:00,000
Speaker 1: That is that's incredible.

802
00:43:00,199 --> 00:43:03,159
Speaker 2: Only his guitarist had passed away in recent years and

803
00:43:03,280 --> 00:43:07,199
he was replaced with a great guitarist. But yeah, that's so.

804
00:43:07,440 --> 00:43:09,840
It really was like hearing the records when you'd go

805
00:43:09,880 --> 00:43:12,440
to see him, you know, other than his voice being diminished,

806
00:43:12,920 --> 00:43:15,239
which you know you can't you can understand that, I guess.

807
00:43:15,159 --> 00:43:17,559
Speaker 1: Yeah, of course. Yeah, how old was he? Eighty four?

808
00:43:17,599 --> 00:43:18,239
Speaker 2: Eighty four and a half?

809
00:43:18,320 --> 00:43:21,599
Speaker 1: Yeah, eighty four and a half. Jaz Wow, Now that

810
00:43:21,679 --> 00:43:23,920
is that is remarkable. Who else is a big influence

811
00:43:23,960 --> 00:43:24,159
on you?

812
00:43:24,679 --> 00:43:32,039
Speaker 2: Dan Fogelberg another one of my favorites as far as vocal,

813
00:43:32,519 --> 00:43:35,679
Like I say, my vocal mentor is a singer songwriter

814
00:43:36,079 --> 00:43:39,960
also from New York City, Kenny Rankin. Okay, so he's

815
00:43:40,039 --> 00:43:43,920
He's one of my biggest influences as far as far

816
00:43:43,960 --> 00:43:47,000
as you know, the term of vocal stylings.

817
00:43:47,079 --> 00:43:50,760
Speaker 1: Yeah, what what is it about him? Because I'm trying to.

818
00:43:50,760 --> 00:43:54,400
Speaker 2: Think, you know, he his his style of playing It

819
00:43:54,480 --> 00:43:58,559
was very very much like you know, like Boston Nova,

820
00:43:58,920 --> 00:44:02,880
like Brazilian style of music, and he did a lot

821
00:44:02,880 --> 00:44:07,760
of covers. I do a few of a few songs

822
00:44:07,760 --> 00:44:10,880
of his so that are covers, but like in the

823
00:44:10,920 --> 00:44:15,239
style that he does them. Okay, I speak kind of interesting.

824
00:44:15,599 --> 00:44:17,320
A song that I did last time I was here,

825
00:44:17,960 --> 00:44:22,000
Pussy Willow's Cattails. A funny little anecdote about that is

826
00:44:22,039 --> 00:44:26,639
that I was always a big Gordon Lightfoot fan, but

827
00:44:26,880 --> 00:44:28,800
I didn't really know a lot of I knew like

828
00:44:28,840 --> 00:44:32,400
his hits early on, like in the early seventies, I

829
00:44:32,440 --> 00:44:34,280
knew songs that were on radio. I didn't really have

830
00:44:34,639 --> 00:44:37,559
many of his albums yet, but I did. I was

831
00:44:37,679 --> 00:44:40,360
very familiar with Kenny Rankin. He was he had a

832
00:44:40,360 --> 00:44:43,039
lot of airplay in New York City, and so I

833
00:44:43,079 --> 00:44:45,400
had a bunch of his albums. And one of my

834
00:44:45,400 --> 00:44:48,760
favorite songs of Kenny Rankins was that he did Pussy

835
00:44:48,800 --> 00:44:52,280
Willow's Cattails. And I didn't realize until years later that

836
00:44:52,320 --> 00:44:54,920
it was a Gordon Lightfoot song. So it kind of

837
00:44:54,920 --> 00:44:57,840
all came together, you know, it was Okay, this makes sense,

838
00:44:58,280 --> 00:45:00,800
and yeah, Kenny, he covered like two or three Gordon

839
00:45:00,840 --> 00:45:03,519
Lightfoot songs. Oh wow, no, Kenny, Yeah, yeah, oh interesting,

840
00:45:03,760 --> 00:45:08,480
yeah another one another one called Mountains in Marianne. Yeah,

841
00:45:08,519 --> 00:45:10,320
it might be just those two no, is he still

842
00:45:10,320 --> 00:45:12,719
around Kenny rank No, he died quite a number of

843
00:45:12,800 --> 00:45:13,840
years ago, unfortunately.

844
00:45:13,920 --> 00:45:15,559
Speaker 1: Okay, yeah, okay.

845
00:45:15,440 --> 00:45:19,400
Speaker 2: Good, almost twenty years ago. Now yeah, oh yeah, did

846
00:45:19,440 --> 00:45:22,480
you want to play something of his? Uh? That's interesting.

847
00:45:22,559 --> 00:45:23,519
Let's see what can we do.

848
00:45:27,079 --> 00:45:29,320
Speaker 1: I'm particularly curious because, off the top of my head,

849
00:45:29,480 --> 00:45:30,880
let me turn that guitar up. Off the top of

850
00:45:30,880 --> 00:45:36,039
my head, I don't really know any Kenny Rankin. I'm

851
00:45:36,280 --> 00:45:38,960
certainly where if we ate, he was, but I can't

852
00:45:38,960 --> 00:45:40,320
think of anything of his that I know.

853
00:45:45,639 --> 00:45:47,079
Speaker 2: I'm going to do a song that he did. He

854
00:45:47,119 --> 00:45:49,679
did a cover. This is a cover, so you'll you

855
00:45:49,800 --> 00:45:53,480
know the song. But uh, really going out on, going

856
00:45:53,480 --> 00:45:54,559
out in the limb on this one.

857
00:45:54,719 --> 00:45:56,000
Speaker 1: That's live radio. It's exciting.

858
00:46:00,239 --> 00:46:02,159
Speaker 7: H's where?

859
00:46:03,639 --> 00:46:06,440
Speaker 2: Okay? So this is I'm going to try to replicate

860
00:46:06,840 --> 00:46:09,400
Kenny's version of this song as well as I can.

861
00:46:11,360 --> 00:46:12,920
Speaker 1: Will Will we recognize the song?

862
00:46:13,320 --> 00:46:13,519
Speaker 2: Yes?

863
00:46:13,679 --> 00:46:13,920
Speaker 1: Okay?

864
00:46:13,920 --> 00:46:21,679
Speaker 2: As soon as the vocal comes in, I think, okay, okay, Well, hm,

865
00:46:37,079 --> 00:46:38,000
I look.

866
00:46:37,840 --> 00:46:45,119
Speaker 3: At you all? See the love there? That sleepy?

867
00:46:46,039 --> 00:46:47,639
Speaker 2: Why am I get.

868
00:46:47,480 --> 00:46:50,760
Speaker 3: Talm gently weeps.

869
00:46:56,199 --> 00:46:57,199
Speaker 1: I look at the.

870
00:46:57,239 --> 00:47:06,440
Speaker 3: Floor and I see it me sweeping, steal my guitar

871
00:47:07,760 --> 00:47:12,320
gently weeds.

872
00:47:14,519 --> 00:47:15,480
Speaker 6: I don't know.

873
00:47:19,039 --> 00:47:20,960
Speaker 3: Nobody told you.

874
00:47:23,840 --> 00:47:26,159
Speaker 7: How to unfold.

875
00:47:26,159 --> 00:47:37,760
Speaker 3: Your love, and I don't know how.

876
00:47:37,239 --> 00:47:42,519
Speaker 2: Someone controlled you, they.

877
00:47:42,599 --> 00:47:45,039
Speaker 7: Bought and sold you.

878
00:47:51,400 --> 00:47:56,639
Speaker 3: I look at the world and I see it's still

879
00:47:56,920 --> 00:47:57,760
turning in.

880
00:47:59,559 --> 00:48:01,559
Speaker 2: Why my guitar.

881
00:48:02,639 --> 00:48:15,800
Speaker 3: Gently weeks. With every mistake, we must surely be learning

882
00:48:18,119 --> 00:48:25,199
steal my guitar, gently weeks.

883
00:48:27,360 --> 00:48:32,199
Speaker 2: I don't know why.

884
00:48:31,840 --> 00:48:33,639
Speaker 7: You were diverted.

885
00:48:36,599 --> 00:48:46,599
Speaker 3: You will preferred to, and I don't know how.

886
00:48:49,920 --> 00:48:58,519
Speaker 7: You were renverted. No one to learned.

887
00:49:10,519 --> 00:49:16,800
Speaker 3: And I'll let you all seek the little father sleeping

888
00:49:19,440 --> 00:49:22,800
while I get tar gently weep.

889
00:50:01,039 --> 00:50:22,119
Speaker 5: Hmmm, that was fantastic, Thank you, good Lord.

890
00:50:22,199 --> 00:50:24,039
Speaker 1: That was really good, really good.

891
00:50:24,519 --> 00:50:26,480
Speaker 2: If that doesn't sedate you, I don't know what will.

892
00:50:26,880 --> 00:50:29,199
Speaker 1: Yeah, I love that and that that harmonic that does

893
00:50:29,239 --> 00:50:32,239
he do that on his version? Jesus threw that is

894
00:50:32,280 --> 00:50:34,920
cool as hell. I love that harmonic. You threw it

895
00:50:35,039 --> 00:50:37,360
right at the end there. Yeah, Well, the drama of

896
00:50:37,400 --> 00:50:38,559
it is just so good.

897
00:50:38,639 --> 00:50:40,559
Speaker 2: Well, that's you know, one of the if you could

898
00:50:40,559 --> 00:50:43,320
bring it up again, that's one of the things that

899
00:50:43,400 --> 00:50:48,199
I love, you know, Uh, for example, is figure oftentimes

900
00:50:48,199 --> 00:50:49,960
figuring out how to how to end the song. I

901
00:50:49,960 --> 00:50:52,559
mean a lot of songs on records fade, so it's

902
00:50:52,559 --> 00:50:55,480
coming up with an ending. And so the way I

903
00:50:55,559 --> 00:51:00,519
describe it, it's like that's my version of Kenny Rankin's version. Wow,

904
00:51:00,639 --> 00:51:03,960
my good talk. Yeah, but to do I like to.

905
00:51:04,039 --> 00:51:18,840
Speaker 1: That love it.

906
00:51:20,480 --> 00:51:21,519
Speaker 2: Gotta end it somehow.

907
00:51:21,599 --> 00:51:24,360
Speaker 1: Yeah, that is so good. That is so good.

908
00:51:25,719 --> 00:51:27,559
Speaker 2: One of the things I enjoyed the most is that

909
00:51:27,559 --> 00:51:28,400
that type of stuff.

910
00:51:28,519 --> 00:51:31,800
Speaker 1: Yeah, yeah, you know absolutely if you're just joining us up,

911
00:51:31,800 --> 00:51:34,039
Brooklyn Mike is here with us live in studio on

912
00:51:34,079 --> 00:51:38,400
this very very cold Saturday morning, January twenty four, twenty

913
00:51:38,480 --> 00:51:40,559
twenty six. Here, this is Matt Connorton on leave and

914
00:51:40,559 --> 00:51:42,800
we are live from the studios. It's nice and toasty

915
00:51:42,840 --> 00:51:45,440
Warman here at WMNH ninety five point three FM. And

916
00:51:45,559 --> 00:51:47,079
of course you can stream the show from anywhere. Go

917
00:51:47,159 --> 00:51:50,559
to Matt connorton dot com slash live for all of

918
00:51:50,559 --> 00:51:54,280
your live streaming options, social media links, contact info, show archives,

919
00:51:54,360 --> 00:51:59,039
et cetera, et cetera. We got looking at the clock,

920
00:51:59,320 --> 00:52:00,559
We got time for what you want to do?

921
00:52:00,599 --> 00:52:00,960
Speaker 2: One more?

922
00:52:01,320 --> 00:52:04,760
Speaker 1: Sure, we had time for one more love hearing Brooklyn

923
00:52:04,800 --> 00:52:05,639
Mike play.

924
00:52:06,159 --> 00:52:08,519
Speaker 2: Thank you. I think I'd like to if you don't

925
00:52:08,519 --> 00:52:09,960
mind another Gordon Lightfoot song.

926
00:52:10,039 --> 00:52:11,119
Speaker 1: Sure, yeah, whatever you want to do.

927
00:52:11,400 --> 00:52:13,239
Speaker 2: Got to honor my man here we.

928
00:52:13,199 --> 00:52:16,840
Speaker 1: Should mention too, Brooklyn Mike also now officially a member

929
00:52:16,880 --> 00:52:19,440
of Retrospectrum Radio every Friday night here at WM and

930
00:52:19,559 --> 00:52:23,039
H from eight to ten pm Eastern Time. Check social listings.

931
00:52:23,039 --> 00:52:24,119
As Polly C likes to.

932
00:52:24,039 --> 00:52:42,400
Speaker 2: Say, so, another thing that I enjoyed doing is kind

933
00:52:42,440 --> 00:52:49,119
of turning people on to songs by artists that they know,

934
00:52:49,199 --> 00:52:51,360
but they don't know the songs. So yes, I do.

935
00:52:51,760 --> 00:52:56,480
For example, up until recently, I mean I I do

936
00:52:56,599 --> 00:52:58,960
like about fifteen Gordon Lightfoot songs, and only two of

937
00:52:59,000 --> 00:53:03,119
them more hits. But more recently, thanks to Paul Cormier

938
00:53:03,719 --> 00:53:07,800
and his suggestions, I've added some more popular Gordon Lightfoot songs,

939
00:53:07,800 --> 00:53:10,119
which I think was a great idea. So I've got

940
00:53:10,159 --> 00:53:11,199
about five of those now.

941
00:53:11,280 --> 00:53:11,679
Speaker 1: Oh wow.

942
00:53:11,719 --> 00:53:16,639
Speaker 2: But this one is probably one of my top three

943
00:53:16,840 --> 00:53:20,039
favorite Gordon Lightfoot songs of all time. Nineteen seventy four

944
00:53:20,119 --> 00:53:23,800
off the Sundown album. And unless you're a fan of

945
00:53:23,800 --> 00:53:26,119
his or had the album, you probably have never heard

946
00:53:26,119 --> 00:53:30,800
the song. But I just and again if anybody that

947
00:53:30,880 --> 00:53:32,880
if you're out there and you're hearing this song and

948
00:53:33,119 --> 00:53:36,079
it sparks your interest, please go and listen to the

949
00:53:36,079 --> 00:53:43,119
recording because it's the orchestra. It's very haunting. The orchestration

950
00:53:43,280 --> 00:53:48,400
on it is amazing, the production is amazing, and it's

951
00:53:48,440 --> 00:53:52,000
just one of those songs. I still I wish I

952
00:53:52,000 --> 00:53:54,679
wish he were still alive for many many reasons, but

953
00:53:55,440 --> 00:53:57,280
also if I could get to meet him again, to

954
00:53:57,400 --> 00:54:00,159
ask him what is this song about? Because I have

955
00:54:00,480 --> 00:54:05,519
I can't. I still can't figure it out. It's uh, musically,

956
00:54:05,559 --> 00:54:09,599
it's it's very interesting, I find and even like lyrically,

957
00:54:09,719 --> 00:54:12,599
I just I can't figure it out. Figure it out.

958
00:54:12,639 --> 00:54:16,760
So if anybody out there knows, it's called is There

959
00:54:16,800 --> 00:54:19,719
Anyone Home? Is the title of this song, and it's

960
00:54:19,840 --> 00:54:24,119
if you want to hear it. It's on the Sundown album.

961
00:54:24,199 --> 00:54:24,719
Speaker 1: Mm hmmm.

962
00:54:37,000 --> 00:54:40,760
Speaker 2: Is there anyone home in this house? Made of stone?

963
00:54:42,159 --> 00:54:50,000
Speaker 3: Anyone inside norm made I've been around for half a

964
00:54:50,159 --> 00:54:58,280
hundred days, never saw the door shut so tight. Turn around,

965
00:54:58,519 --> 00:55:01,960
don't look down. There's a man behind you.

966
00:55:01,800 --> 00:55:13,000
Speaker 2: With a gun, like.

967
00:55:13,039 --> 00:55:20,199
Speaker 3: Any wandering child in the wilderness, wild and uncaged.

968
00:55:19,480 --> 00:55:26,559
Speaker 2: On your wings. I think I heard someone stirred.

969
00:55:27,920 --> 00:55:36,840
Speaker 3: I think I heard someone stirn. There's a light around you.

970
00:55:37,039 --> 00:55:42,639
I've conco switched all it would brighten every room.

971
00:55:45,360 --> 00:55:47,360
Speaker 2: Don't be ashamed if.

972
00:55:47,199 --> 00:55:52,840
Speaker 3: You feel a whole lot water in your heart, you

973
00:55:52,960 --> 00:56:06,159
got that feeling in your soul. Is there anyone home

974
00:56:06,440 --> 00:56:07,480
in this house?

975
00:56:07,679 --> 00:56:14,440
Speaker 2: Made stole? Anyone in there whom might care? I've grown

976
00:56:14,719 --> 00:56:18,639
weary and wise, and I feel much amazed.

977
00:56:19,760 --> 00:56:25,960
Speaker 3: Got a few good tales too, Unwine, turn around, don't

978
00:56:25,960 --> 00:56:26,519
look down.

979
00:56:27,239 --> 00:56:29,159
Speaker 2: There's a man behind you with.

980
00:56:29,079 --> 00:56:43,920
Speaker 3: The girl, like any wandering minstrel at on in the

981
00:56:44,079 --> 00:56:47,039
House of a Thousand Delights.

982
00:56:48,360 --> 00:56:55,760
Speaker 2: I think I heard someone sterned. I think I heard.

983
00:56:57,039 --> 00:56:58,000
Speaker 6: Someone stern.

984
00:56:59,400 --> 00:57:00,320
Speaker 3: I think I.

985
00:57:02,000 --> 00:57:02,840
Speaker 6: So one st.

986
00:57:04,320 --> 00:57:07,800
Speaker 2: I think got her someone stern.

987
00:57:11,679 --> 00:57:12,400
Speaker 3: I think got the.

988
00:57:16,639 --> 00:57:17,039
Speaker 2: Soone.

989
00:57:26,440 --> 00:57:27,239
Speaker 1: Is it a ghost story?

990
00:57:27,280 --> 00:57:30,159
Speaker 2: Maybe? I have no idea, but I love the song

991
00:57:30,280 --> 00:57:31,000
I do too. Yeah.

992
00:57:31,039 --> 00:57:32,599
Speaker 1: I like that a lot. I like that a lot.

993
00:57:32,800 --> 00:57:35,119
Speaker 2: It's got a lot of interesting like changes in it, you.

994
00:57:35,039 --> 00:57:38,400
Speaker 1: Know, Yeah, yeah, No, it was really good. Thanks Brooklyn, Mike.

995
00:57:38,400 --> 00:57:40,480
Where should people go online to keep up with everything

996
00:57:40,519 --> 00:57:41,079
that you're doing?

997
00:57:41,920 --> 00:57:45,920
Speaker 2: The wm n H n H dot org ninety five

998
00:57:45,960 --> 00:57:47,639
point three FM.

999
00:57:47,199 --> 00:57:49,840
Speaker 1: Tune in retrospector right Friday nights for one thing, right.

1000
00:57:49,760 --> 00:57:52,880
Speaker 2: I do have I have a couple of songs on YouTube. Yes,

1001
00:57:53,000 --> 00:57:55,599
you know, Michael Platino, P L O T I n OK.

1002
00:57:56,039 --> 00:57:58,719
Just a couple of songs. I put them on there initially,

1003
00:57:59,039 --> 00:58:05,159
h in the springtime. I'm because I submitted. I had

1004
00:58:05,159 --> 00:58:08,039
to submit a couple of songs that people could review

1005
00:58:08,719 --> 00:58:11,679
as kind of as an audition. I didn't get the job,

1006
00:58:11,679 --> 00:58:13,559
but that's okay. I got a couple of couple of

1007
00:58:13,639 --> 00:58:17,320
videos online. I did Venture a Highway and by the

1008
00:58:17,320 --> 00:58:21,000
time I get to Phoenix, so that's on YouTube. Oh cool,

1009
00:58:21,079 --> 00:58:23,480
I'll have to check those out. Yeah, yeah, I could

1010
00:58:23,519 --> 00:58:25,280
send you to I'll send you the links. Okay, Yeah,

1011
00:58:25,280 --> 00:58:26,880
I appreciate it. Appreciate it well.

1012
00:58:26,920 --> 00:58:29,119
Speaker 1: Always wonderful to have you here, and of course wonderful

1013
00:58:29,159 --> 00:58:31,840
seeing you Friday nights, of course, and a lot of fun.

1014
00:58:32,000 --> 00:58:33,599
And I do want to thank you everybody who joined

1015
00:58:33,639 --> 00:58:36,360
us today. Of course, we had a ca Hall fits,

1016
00:58:36,480 --> 00:58:38,320
so don know if I'm saying it right in the

1017
00:58:38,360 --> 00:58:41,840
first hour and in the second hour we had a Dale,

1018
00:58:41,880 --> 00:58:45,559
the bass player from the Puncturists, great great band from

1019
00:58:45,599 --> 00:58:47,719
the UK. I really really liked them a lot. And

1020
00:58:47,760 --> 00:58:50,360
of course Brooklyn Mike was here. Wonderful and if you

1021
00:58:50,360 --> 00:58:52,039
miss any part of today, so of course it'll be

1022
00:58:52,079 --> 00:58:55,079
up in just a little bit at wmnhradio dot org

1023
00:58:55,239 --> 00:58:58,519
and at my website Matt connorton dot com. And again

1024
00:58:58,559 --> 00:59:00,519
Brooklyn mic are real New Yorker. Thanks, thank you so much,

1025
00:59:00,559 --> 00:59:01,079
my friend.

1026
00:59:00,960 --> 00:59:02,440
Speaker 2: Thank you being here.

1027
00:59:02,559 --> 00:59:05,599
Speaker 1: Absolutely, And I mentioned the puncturists. I'm gonna leave you uh,

1028
00:59:05,599 --> 00:59:07,800
I'm gonna leave you all with this song one more time.

1029
00:59:07,960 --> 00:59:10,159
We played this in the second hour. But again, I

1030
00:59:10,159 --> 00:59:12,599
think it's relatable for our audience because I know we

1031
00:59:12,639 --> 00:59:14,320
have a lot of musicians who listen to the show

1032
00:59:14,440 --> 00:59:16,840
and industry people and so forth, so I think this

1033
00:59:16,920 --> 00:59:19,119
is uh, I think this is appropriate to play this again.

1034
00:59:19,159 --> 00:59:22,360
The song is called they Don't Pay support Bands, and

1035
00:59:22,800 --> 00:59:26,239
the band is the Puncturess And this is just a

1036
00:59:26,239 --> 00:59:28,239
fun song, but there's a lot of truth in it.

1037
00:59:29,440 --> 00:59:43,480
And we'll talk to you all a little bit later. Bye, everybody,