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Speaker 1: You are listening to w MNHLP, Manchester's radio broadcasting at

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ninety five point three FM from the top of one

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thousand eleven Street. Our studios are located at one nineteen

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Canal Street and licensed to Manchesters called WILIC Television Service

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in Manchester, New Hampshire, USA.

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Speaker 2: This is eleanor Langthorne from Vices Inc.

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Speaker 3: And you're listening to Matt Connorton Unleashed on ninety five

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point three WMNH Your listeners.

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Speaker 4: It's beginning to look alive like Christmas.

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Speaker 5: Everywhere you go.

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Speaker 2: Take a look at the five and ten.

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Speaker 3: It's glistening once again with county hands and silver lanes.

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Speaker 5: They're globe.

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Speaker 2: It's beginning to look alive like Christmas.

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Speaker 5: Tis on every store.

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Speaker 6: But the prettiest sign to see is the holly the

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move on your own road.

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Speaker 7: It's beginning to look alive like Christmas.

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Speaker 5: Everywhere you go.

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Speaker 3: There's a tree in the Grand Hotel, one in the

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park as well.

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Speaker 2: It's a curdy kind.

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Speaker 5: That doesn't mine the snow.

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Speaker 2: It's beginning to look alive like Christmas.

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Speaker 3: So the bells will start and the thing that'll make them.

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Speaker 5: Ring is the carol. Bet your son right with thing

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your home.

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Speaker 7: It's beginning to look alive like Christmas ties loveystal but

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the prettiest sight to see is the holly by on

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your own.

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Speaker 3: From Sure It's Christmas.

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Speaker 8: Welcome everybody.

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Speaker 9: It's that time again.

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Speaker 8: Matt Connorton unleashed and we are live from the studios

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of w m n H ninety five point three FM

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and Glorious Manchester, New Hampshire. A little little wintry outside,

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a little icy, but but it is glorious. And that,

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of course was Kendra Erica. That is her new holiday single,

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her rendition of It's beginning to Look a lot like

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Christmas to open this week's show. That is the world

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radio premiere of that track. And we're gonna hear some

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more holiday music shortly. We've got some great guests lined

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up for you today. By the way, I do want

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to remind you for those of you listening live on

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Saturday morning, the twenty first of December twenty twenty four.

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Of course, after the show today, we've got a big

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event at the Manchester Masonic Temple, the Holiday Market and

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Psychic Event. This goes from noon to five pm, so

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Jenny will already be There's that's why she's not with

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me this morning. She's gonna be getting set up there.

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She's gonna be selling some of her amazing macrom items

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that she makes. I don't understand how she does it,

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but really really great stuff that she does. And there's

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gonna be a lot of artisans there, local businesses participating

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and like I always say, Walmart and Target don't need

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any more of your money, so please support local businesses.

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And it's a great opportunity to do that at the

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Holiday Market and Psychic Fair today from noon to five pm.

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So after you're done listening to Matt connorton Unleashed, of course,

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I hope to see you there. I'll be heading over

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there today after the show, and that is at fifteen

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oh five Elm Street, and for more information you can

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go to Sisterwitch Company dot com. We love the Sister

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Witch Company, great people and we love being involved in

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what they do. So again, if you're listening live on Saturday,

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that is today from noon to five pm at the

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Masonic Temple in Manchester. I don't think I've ever been

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to the Masonic Temple, so that'll be a that'll be

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interesting as well. But no, Sister Witch Company, they do

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a lot of great events there. We do have some

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great guests today on the show, as I mentioned, and

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we're going to open with and I'm going to bring

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bring her.

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Speaker 9: MIC's up there.

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Speaker 8: So Jet, let's see if I can do this. Jennifer Hausinchuck,

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good job? Is that right? Yeah? Okay?

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Speaker 9: Good yes? Also known as Neon Gypsy.

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Speaker 8: Correct or is the on Gypsy the name of the

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band or are you the Neon Gypsy?

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Speaker 10: It can be there or really because you know, we're

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trying to just bring the brand wherever we go. So

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whether whether it's me, you know, solo or sometimes it's

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different projects. So it always stays me on Gypsy just

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for a little bit of consistency.

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Speaker 8: Sure. Sure, And we're going to be playing in a

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moment studio track that you recently. This was this just

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came out right, your rendition of Run Rudolph Front right.

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Speaker 10: Well, we actually recorded it last year, but it was

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a really last minute thing and it didn't get any

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airtime because it was just it was too close to Christmas.

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So this is really the debut of it for sure.

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Speaker 9: Oh very good.

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Speaker 8: So this has not been played on the radio before, No,

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not really, So this is the world radio premiere.

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Speaker 10: It really is.

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Speaker 8: We like those here. We like to do the world

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radio premiere.

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Speaker 10: It is happening right here in Manchester.

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Speaker 8: That is. That is fantastic. No, we appreciate that. By

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the way, I learned something so I mentioned this too

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yesterday or not yesterday, Yeah, yesterday when I posted a

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quick preview video about today's show All my Life, I

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thought the name of the song was run Round Rudolph.

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Speaker 10: Exactly, me too, yes, And it was a real tongue

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twister when I was trying to do the lyrics because

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all my life that's what I thought it was too,

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so I had to undo it many times. But yeah, yeah,

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I just learned that as well.

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Speaker 9: Where did you record this?

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Speaker 10: We recorded at Studio fifty one, which is our home studio.

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After COVID a lot of people started to go, you

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know and get in their own studios, so we're finally

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set up with all the equipment we need and we

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recorded it right in Portland main.

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Speaker 8: By the way, for those you brought stickers, I'm gonna

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hold these up in front of the camera here that's

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in front of me for people watching online. So we

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should mention too, and Jenny will be excited. She loves stickers.

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Here's the uh we get that right in front of

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the camera, Studio fifty one sticker. So you were just

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talking about Studio fifty one and this school k neon

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gypsy sticker too.

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Speaker 9: I love the logo. Who designed the logo?

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Speaker 8: Did you do that?

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Speaker 11: Or yeah?

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Speaker 10: My graphic designers. That's one of the renditions. But really

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they're holographic and sparkly. We'll make sure to get you those.

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Speaker 3: Yeah.

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Speaker 8: Yeah, no, that's cool though, I dig it.

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Speaker 10: Yeah, thank you.

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Speaker 8: So so this track, so you recorded this at Studio

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fifty one, yes, okay.

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Speaker 10: Yeah, yeah.

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Speaker 8: Do you record other artists there too or is it

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just your material for that?

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Speaker 10: Now we're opening it up to other artists as well. So,

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and we're thinking about doing some collaborations as well too,

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just for the fun of it, because sometimes the music

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industry gets a little stressful when you're just trying to

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get out there, whether you're getting out to just play

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and get paid or whether you're just you know, trying

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to get your stuff out there.

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Speaker 9: Yeah.

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Speaker 10: I really need to keep the fun in it and

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the collaboration. So we'll be having different artists from the

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area come in and we're just going to do different

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collaborations with originals.

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Speaker 9: Outstanding and some covers too, but yeah, very cool.

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Speaker 8: Well, so for anyone who's interested in recording there, this

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will kind of give you an idea of what kind

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of a sound you can get. And let's give this

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a spin and then we'll come back and Jennifer is

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going to play for us today too. She brought her guitar,

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so really looking forward to that.

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Speaker 9: But here it is.

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Speaker 8: This is run Rudolph Run as I now know the correct, uh,

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the correct name of this classic song. Chuck Berry did

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this originally correct?

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Speaker 10: Yeah, and it was written in nineteen fifty eight.

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Speaker 9: Nineteen fifty eight.

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Speaker 8: Well, yeah, so that's that's.

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Speaker 10: Why we have that title stuck in our head. Yes,

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if you weren't born, then you can't know.

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Speaker 8: All your life has that exactly exactly all right? Here

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it is Run Rudolph Run Eon gipsy, you know the

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last of mine.

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Speaker 12: Run random by.

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Speaker 13: Run Don rudof SA get to town.

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Speaker 5: Santagam home in town o Na.

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Speaker 12: Can take the freeway down, Run Don Rudolf a very

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run Okay, Yeah, saying Santa to uncle a child, what

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have you been looking for?

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Speaker 13: No im for Christmas? Is a fucking ball electric jar

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not away when boodof.

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Speaker 14: W isn' I gotta shoot the star, run Ron boodof Santa,

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don get to child.

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Speaker 5: Santa Nick come right down on me.

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Speaker 13: Can take the freeway hour.

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Speaker 12: Run don Boodo being America right, okay run run rudall Santa.

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Speaker 5: Don't I get to child.

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Speaker 12: Santa Nick ahead, he can take a freeway now.

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Speaker 15: Run don bud be.

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Speaker 13: Like americal right, ye, saying saying that to you, my

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girl child?

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Speaker 16: What would please you most to.

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Speaker 12: Get a little baby don They can grass see drink

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and wit.

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Speaker 17: Not a way.

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Speaker 13: He went brudoh whizar like a saber chet run un

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Rudo Sanada may get to town, said, I make amery

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turn im.

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Speaker 12: He can take the freeway down, run don Buda, feeling

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like American right, Okay, run.

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Speaker 5: Don go go.

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Speaker 9: N run Buda, run Rudolph run. That is neon Gipsy.

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Speaker 8: That is a brand new and uh yeah, Jennifer, we

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were talking kind of off air. You're gonna be recording

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more at the at Studio fifty one. You've got a

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bunch of originals You're going to be doing right right.

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Speaker 6: Yeah.

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Speaker 10: Some of the songs actually are thirty years old. When

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I wrote them, I put them in a book, close

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a book, put it away forever, and then resurface them,

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and I actually still really liked them. We just upgraded

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the music, but we've got about five to seven that

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are literally waiting for me to get in the studio.

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Brian and did all his parts, and it's all on

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me to get down there with vocals and recording the guitar,

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and it's going to be all rock. So there's when

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I play out, it's acoustic. But I really wanted to

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bring the rock portion into playing because I love that aspect.

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But more often than not, if I'm playing out, I

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play acoustic.

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Speaker 8: Oh okay, okay, So do you do a lot of

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shows just you? Or does Brian join you for the

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acoustic shows.

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Speaker 10: This is relatively new with taking a different approach to

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a band. I've been in a lot of renditions of

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bands before, and what I've ended up finding is that,

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of course, you know, bands are family. You know, sometimes

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it works, sometimes it doesn't. Dynamics are you know, always

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very tricky, and everyone that comes into a band brings

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their own style and or flavor, and you know, it

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worked on different variety of levels. But I really wanted

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to refocus and have it be Neon Gypsy brand of

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what we're bringing out there. So we're doing it a

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little different this time. And instead of saying, dude, I

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want to start a band and then and then you

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like know a drummer and you pull people in that

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you just know, what we're doing is we're creating the brand,

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the sound, the music ourselves in studio and then we're

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putting the brand out there and hopefully what people do

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musicians as they say, wow, I love that sound, I

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love that feel, and when they come into the project,

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they're bringing that particular vibe, right, so that we're not

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changing you know, like coming in and you know, sounding

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like Greg Almonds because of some dude that comes in

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that likes Greg Almonds, you know, or you know what

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I mean. Yeah, So we're doing it a little bit

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differently and we're attracting the musicians that we feel fit

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the actual brand.

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Speaker 8: Yeah yeah, well, because yeah, you want to attract obviously,

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not not only musicians for the band, but for the

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for the studio too.

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Speaker 9: You want people to come and record, I assume, so.

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Speaker 8: Right, yeah, yeah, and uh yeah no uh run Rudolph

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ru it sounds great, is it just now who so

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do you have Is it just you and Brian on

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the track.

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Speaker 9: Or are there other musicians who play on the track.

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Speaker 10: On that particular one, we had Keoni Ben come in,

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a musician that is a bass player that we we knew, okay,

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so he did play bass on that And as far

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as that goes, Rick Ash is a drummer in the

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area who will come in and play with us as well.

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Speaker 8: Okay.

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Speaker 10: So yeah, we definitely, you know, we'll bring in people

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for bass and drums and the and the instruments that

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obviously we're not playing. For some of the recorded originals

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that are coming out, we actually hired somebody in Africa

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who did all the percussion because they can they can

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mike every single you know, you know, drum on their

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on their you know sound so and you know, and

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then obviously when we're playing local we'll pull in local musicians.

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Speaker 8: So it's amazing too. This is a subject that comes

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up on the show a lot. It's amazing to live

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in a time where you can do, like what you

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just said, like work with somebody in Africa, you know,

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and send tracks back and forth.

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Speaker 9: And I also think, you.

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Speaker 8: Know, I you refer to the pandemic earlier and how that,

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you know, kind of changes the dynamics of things. Obviously,

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it was a terrible experience, the pandemic, but you know,

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we have to find these silver linings where we can,

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and I think one of the few silver linings is

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it really kind of forced a lot of creative people

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to find new ways to create. And obviously the ability

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to you know, send tracks back and forth with people

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in other parts of the world, We've had that for

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a long time. But I think when the pandemic showed up,

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it kind of forced people who maybe were resistant to

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doing that to try it. And it opened up new

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ways to be creative that maybe people hadn't considered before,

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you know, and I think I think now musicians are

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much more open to that and and being able to

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that's pretty cool, right, being able to collaborate with somebody

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in Africa.

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Speaker 10: Yeah, you know. Yeah, And you know, creativity should not

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be limited by money, and it was for me for

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for decades. You know, I started playing and singing in

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bands and and getting creative, you know, in high school

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and back then it was four tracks and those are

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relatively you know, easy.

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Speaker 8: To get and just noodle around with the creative fuel

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task him. Yeah, I had one, you know, and we had.

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Speaker 10: I've always had a home studio, and you know, just

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getting the creative idea out there and on back then tape,

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you know, kept the creative float going and it made

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me feel like, well, this is why I want to

300
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do it, and kept the passion in it, you know.

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The moment that I couldn't access that anymore, or maybe

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it got beyond technology that I could even really want

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to deal with, is you know, it should it should

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be something that all musicians can access. And I think

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that home studios do that for people. And honestly, I

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think at this point people don't have to spend you know,

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thousands of dollars to get a great track, and you honestly,

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I mean, I'm okay with not having a big name

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on on our tracks, yeah you know, yeah, and totally

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fine with, uh with doing it at home.

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Speaker 9: So yeah, yeah, do you want to do you want

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to play? So I'm dying here? You play live?

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Speaker 5: Yeah?

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Speaker 9: Yeah we did.

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Speaker 8: Uh, we did a little sound check before the When

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you're the first guest on the show in the morning,

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you actually get a sound check and uh, you sound

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you sounded amazing, just a little bit that I heard.

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Speaker 9: So I'm really looking forward to this.

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Speaker 8: If you are just joining us, neon gipsy here with us,

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live in studio on this Saturday morning, this cold Saturday morning.

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Speaker 9: So what are you gonna play for us?

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Speaker 18: Well?

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Speaker 10: I got some originals for you. This is this is

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let's start with come on up. I guess let's see

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if I can get my fingers work in it's freezing outside.

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Speaker 8: What is it like to uh? Feels like it?

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Speaker 10: Yeah, it feels like too.

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Speaker 9: It's a cold morning.

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Speaker 6: Yeah.

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Speaker 10: This one's called come on Up. We're we're recording this

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one in studio. Full rock version.

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Speaker 8: Okay.

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Speaker 10: So anytime I play an acoustic I always picture a

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full rock band in the back in in in my mind,

336
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I'm playing as a rock star on it. I call

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it my axe acoustic. So this is called come on up.

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Speaker 5: All right.

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Speaker 16: No, don't need drag not, dont need a small one.

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Speaker 5: I don't need to.

341
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Speaker 19: Just need you to give up up, don't need much

342
00:19:50,759 --> 00:20:02,559
need you to come on. No in need a thank you,

343
00:20:04,839 --> 00:20:12,680
turn the TV, non need Gussie show, just need to

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do the gam.

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Speaker 5: In ned look hold up? Yeah, who o come on.

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Speaker 2: Now?

347
00:21:11,720 --> 00:21:16,720
Speaker 10: I don't need a diamond, no full length.

348
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Speaker 5: Burst now, I don't need to go up time in.

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Speaker 18: I don't need you to hold up many doors, come.

350
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Speaker 20: On up, don't need buch deed Tryna come on, don't

351
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need much need Tryna come on, don't need buch Dejurna coma.

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Speaker 13: Big rock baby.

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Speaker 16: I love it.

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Speaker 7: I love it.

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Speaker 8: If you are just joining us Neon Gypsy is there

356
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with us a live in studio and uh, that's that's great.

357
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Speaker 18: Yeah.

358
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Speaker 8: Is everything kind of high energy that that you do or.

359
00:22:16,680 --> 00:22:17,240
Speaker 18: A lot of it.

360
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Speaker 10: Or and or as high energy as it is dynamic? Yes,

361
00:22:24,319 --> 00:22:30,160
dynamics or high energy? Yeah, yeah, So I have a slower,

362
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slower song where you know, the bridge kind of just

363
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kicks up and when we get that recorded full band,

364
00:22:36,480 --> 00:22:39,000
it'll just be like a wall of sound up in

365
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the bridge, you know, and then comes back down. So yeah, dynamics, yeah, yeah.

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Speaker 9: Now are you the primary songwriter? Do you write everything?

367
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Speaker 10: Or actually, Brian my guitarist, my you are mine.

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Speaker 8: The mysterious Brian Right, he's he's over there, he's over there.

369
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Speaker 9: On the corner.

370
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Speaker 10: Brian writes a lot of cool stuff on electric guitar,

371
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lead riffs and stuff and then I'll write the lyrics.

372
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Usually I wrote this song music lyrics, and so you know,

373
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it's it's kind of a give or take really or collaboration.

374
00:23:18,480 --> 00:23:20,480
But the songs I have here today I wrote and

375
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lyrics and the music.

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Speaker 9: Yeah, yeah, excellent. Do you have how many? How many

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songs have you written?

378
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Speaker 8: Do you think like it's probably hard to put a

379
00:23:30,359 --> 00:23:32,039
number on it, But I mean you strike me as

380
00:23:32,079 --> 00:23:33,319
someone who probably has written a lot.

381
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Speaker 9: You probably write a lot, like ever, yeah, like like

382
00:23:38,160 --> 00:23:41,559
can you put a number on like like a vaguely uh.

383
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Speaker 10: Probably. I was one of those kids.

384
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Speaker 12: I was.

385
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Speaker 11: I was not cool.

386
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Speaker 10: I'm still I'm still reaching for that goal. But I

387
00:23:49,440 --> 00:23:51,440
was one of those kids that's you know, in grade

388
00:23:51,440 --> 00:23:54,000
school high school, sat in my room with a notebook

389
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and I pined over my pen and paper, writing mostly lyrics.

390
00:23:59,359 --> 00:24:02,240
What I thought was poetry, and the saddest day of

391
00:24:02,319 --> 00:24:07,240
my life was my absolute favorite high school poetry teacher

392
00:24:08,000 --> 00:24:10,160
looked at the stuff I was bringing in. He said,

393
00:24:10,200 --> 00:24:13,880
you know, make you make a really great lyric writer.

394
00:24:14,119 --> 00:24:15,319
And I was insulted.

395
00:24:15,599 --> 00:24:17,160
Speaker 9: Really, I was insulted at the.

396
00:24:17,200 --> 00:24:21,359
Speaker 10: Time because I had not started playing music and I

397
00:24:21,519 --> 00:24:24,240
wanted to be a poet, and so I went in

398
00:24:24,400 --> 00:24:28,200
with all my writings and toils, you know, on wielding

399
00:24:28,279 --> 00:24:31,359
my pen and came in I'll emo and he's like,

400
00:24:31,559 --> 00:24:34,920
you know, and I was really offended at that point.

401
00:24:35,039 --> 00:24:38,079
And then I started playing a guitar. So, you know,

402
00:24:38,160 --> 00:24:41,200
I probably have hundreds of songs, but it's like a sketch.

403
00:24:41,319 --> 00:24:43,319
You know, not every sketch is going to be great,

404
00:24:44,000 --> 00:24:47,599
but you know you can pull pieces of those here

405
00:24:47,680 --> 00:24:50,640
and there, smash things together, you know, scratch it whatever.

406
00:24:50,759 --> 00:24:55,039
But that song that I just sang, I wrote, put

407
00:24:55,079 --> 00:24:58,480
in a book, closed the book, and then packed the

408
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book away and then didn't open.

409
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Speaker 9: It for twenty years kidding.

410
00:25:01,880 --> 00:25:07,839
Speaker 10: So that song's actually thirty years old, which is dating myself. Yeah,

411
00:25:08,200 --> 00:25:09,839
so that was resurrected.

412
00:25:10,359 --> 00:25:14,759
Speaker 8: Do you remember the first song you ever wrote, Actually, one.

413
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Speaker 10: Of the first songs I ever did write I can

414
00:25:17,920 --> 00:25:20,880
play today called Fifth Dimension, no kidding, Yeah, And I

415
00:25:21,000 --> 00:25:24,119
wrote that in high school, you know, sitting on my bed,

416
00:25:24,240 --> 00:25:26,680
like I said, toiling and writing poet. It was poetry

417
00:25:26,960 --> 00:25:31,720
at the time, and that's also resurfaced. And the thing

418
00:25:31,799 --> 00:25:34,200
that's changed about that is the music the way I

419
00:25:34,319 --> 00:25:38,359
played it, not so much the chords, but the playing

420
00:25:38,440 --> 00:25:44,640
has changed, yea, and that one is Yeah, that one

421
00:25:44,759 --> 00:25:47,759
just keeps. I figure if songs keep resurfacing, then they

422
00:25:47,839 --> 00:25:50,759
must be worth something, you know, or to me at least,

423
00:25:51,359 --> 00:25:54,039
right you know. So those those are the ones that resurface.

424
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Speaker 9: But yeah, yeah, that's pretty cool. It's something that you

425
00:25:57,400 --> 00:26:01,079
wrote so early. You know that it survives, you.

426
00:26:01,160 --> 00:26:04,960
Speaker 10: Know, right, well, I wrote it. My aunt got me

427
00:26:05,079 --> 00:26:08,279
an old k guitar at a just a thrift shop

428
00:26:08,359 --> 00:26:11,880
somewhere for like twenty bucks, and you needed tetannis shots

429
00:26:11,920 --> 00:26:14,400
to you know, even play the strings. You know, the

430
00:26:14,440 --> 00:26:17,279
strings had never been changed. But I was around music

431
00:26:17,400 --> 00:26:20,359
all of my life. So my grandparents, you know, everyone

432
00:26:20,559 --> 00:26:25,880
in our family Germans, Pollockx Ukrainians, they all played music

433
00:26:26,039 --> 00:26:27,599
and it didn't matter what it was, whether it was

434
00:26:27,720 --> 00:26:32,880
the harmonica, the guitar, banjo, you know, whatever poke music.

435
00:26:33,119 --> 00:26:35,720
So we were surrounded by it, but we never really

436
00:26:35,839 --> 00:26:39,400
called ourselves musicians. It was just part of what we

437
00:26:39,519 --> 00:26:42,480
did to celebrate and have fun. So I've always seen

438
00:26:42,599 --> 00:26:47,160
my grandfather playing guitar, but he didn't really know chords,

439
00:26:47,599 --> 00:26:49,720
you know. He would too just kind of tune the

440
00:26:49,759 --> 00:26:52,519
guitar to an open tuning and pluck away at it,

441
00:26:52,640 --> 00:26:55,559
and so I learned how to play without knowing what

442
00:26:55,680 --> 00:26:59,359
chords I was playing and often just play by sound

443
00:27:00,079 --> 00:27:03,000
know or here, you know, hearing what I'm doing. So

444
00:27:03,400 --> 00:27:06,279
I wrote that particular song that we're talking about not

445
00:27:06,480 --> 00:27:14,839
knowing chords, okay, and I still don't. And that's why

446
00:27:14,920 --> 00:27:16,640
I always say I'm not really you know, I'm not

447
00:27:16,759 --> 00:27:21,880
really a musician. I don't read music, you know me either.

448
00:27:22,039 --> 00:27:23,480
Speaker 9: I never learned to read music.

449
00:27:23,759 --> 00:27:25,799
Speaker 10: I just simply did it for expression.

450
00:27:26,039 --> 00:27:30,079
Speaker 9: Yeah, so yeah, do you want to you want to

451
00:27:30,079 --> 00:27:31,759
play another one? I'm done here more.

452
00:27:31,920 --> 00:27:35,359
Speaker 10: Yeah great, I'm still warming up my fingers, so I apologize, ye,

453
00:27:37,240 --> 00:27:40,119
but yeah, this is the this is the song called

454
00:27:40,160 --> 00:27:42,240
Fifth Dimension. I'm just gonna tune up a little bit.

455
00:27:42,480 --> 00:27:48,319
Speaker 9: Yeah yeah, this this song is actually about.

456
00:27:51,799 --> 00:27:57,039
Speaker 10: Well fifth dimension basically, if you know, if you're if

457
00:27:57,039 --> 00:27:59,839
you're on a different plane, if somebody can they see you,

458
00:28:00,000 --> 00:28:01,880
can they hear you, can they understand you?

459
00:28:02,119 --> 00:28:02,319
Speaker 2: You know?

460
00:28:03,079 --> 00:28:05,200
Speaker 10: It was actually one of my poetic days where I

461
00:28:05,240 --> 00:28:06,359
was getting really deep in emo.

462
00:28:09,880 --> 00:28:10,519
Speaker 6: And this was.

463
00:28:10,599 --> 00:28:15,000
Speaker 10: Recorded, uh you know a few years ago, but it

464
00:28:15,079 --> 00:28:18,119
was right before pandemic and then the world closed down

465
00:28:18,880 --> 00:28:23,039
and I lost track of where the actual wave file

466
00:28:23,160 --> 00:28:24,960
went and all the stun files.

467
00:28:24,599 --> 00:28:26,640
Speaker 8: And so we're going to be re recording this one.

468
00:28:26,839 --> 00:28:29,359
Speaker 10: Okay, yeah, this is called Fifth Dimension.

469
00:28:29,279 --> 00:28:30,799
Speaker 9: Neon Gypsy live in studio.

470
00:28:59,279 --> 00:29:04,400
Speaker 16: Watchip please there linger.

471
00:29:06,799 --> 00:29:08,759
Speaker 5: Holla bound your mind?

472
00:29:12,880 --> 00:29:21,079
Speaker 18: Maybe there and I can see honor your thoughts of

473
00:29:21,400 --> 00:29:22,240
one mind?

474
00:29:26,160 --> 00:29:28,680
Speaker 16: Did not pay he send.

475
00:29:28,559 --> 00:29:35,039
Speaker 18: To bil dementia? Watch you steal her? I think of me?

476
00:29:39,319 --> 00:29:46,240
Speaker 19: Did I pay I send to bid dementia? Watch you

477
00:29:46,359 --> 00:29:47,039
stee her?

478
00:29:47,319 --> 00:29:54,759
Speaker 18: I think of me? Won't you still believe and.

479
00:29:57,160 --> 00:30:01,640
Speaker 16: No believe in me?

480
00:30:02,559 --> 00:30:07,880
Speaker 21: Yeah? Magah believe in.

481
00:30:10,400 --> 00:30:11,119
Speaker 5: No no.

482
00:30:22,519 --> 00:30:23,519
Speaker 16: Watch of thieves.

483
00:30:24,160 --> 00:30:37,559
Speaker 18: Let me see home with your rides. Maybe they're I

484
00:30:37,759 --> 00:30:45,160
won't have them gool nor the rout they shun night.

485
00:30:49,039 --> 00:30:56,720
Speaker 19: Dip a pair hells into dimp dementia. Watch you steer?

486
00:30:57,079 --> 00:30:57,960
Speaker 5: I think of me?

487
00:31:02,279 --> 00:31:11,319
Speaker 19: Did not fair hair into pentimenta? Won't just stealum beat?

488
00:31:15,319 --> 00:31:17,000
Won't just still believe?

489
00:31:17,440 --> 00:31:20,039
Speaker 14: And no.

490
00:31:23,279 --> 00:31:25,279
Speaker 16: Believe in Megge.

491
00:31:26,599 --> 00:31:37,960
Speaker 21: Maggie believe in no believe in Maggie.

492
00:31:39,759 --> 00:31:40,440
Speaker 5: Maggie.

493
00:31:47,200 --> 00:31:49,359
Speaker 9: That was the first one you wrote. You were off

494
00:31:49,400 --> 00:31:50,079
to a great starter.

495
00:31:50,440 --> 00:31:51,240
Speaker 8: I really like that.

496
00:31:51,640 --> 00:31:56,200
Speaker 10: It sounded a lot different. It definitely wasn't as upbeat,

497
00:31:56,480 --> 00:31:58,119
yes as you said it. I think you said it.

498
00:31:58,200 --> 00:32:00,519
Do you always play up? I don't know what you

499
00:32:00,640 --> 00:32:04,319
just said. But when I originally wrote it, it was

500
00:32:04,359 --> 00:32:06,880
pretty sing song y. Yeah, and I didn't really have

501
00:32:06,960 --> 00:32:08,960
a lot of confidence when I was playing and singing.

502
00:32:09,519 --> 00:32:12,319
I was singing secretly, you know, in my room. Yeah,

503
00:32:12,440 --> 00:32:14,640
never sang in front of anyone, and so everything was

504
00:32:14,759 --> 00:32:19,200
pretty mellow and kind of safe when I first wrote.

505
00:32:19,279 --> 00:32:21,839
So that that was you know again, put it away

506
00:32:21,839 --> 00:32:23,440
in a book for twenty years, come back to it

507
00:32:23,839 --> 00:32:28,720
with more confidence, with more attitude, and you know, yeah,

508
00:32:29,039 --> 00:32:32,400
and that's what that's what that brings to the table. Yeah, dynamics.

509
00:32:32,599 --> 00:32:34,559
Speaker 8: No, that was great. Yeah, yeah, I really like that

510
00:32:34,640 --> 00:32:38,160
a lot. Absolutely, thank you. Now, when you record the album,

511
00:32:38,200 --> 00:32:41,079
how many how many tracks are you gonna record? Have

512
00:32:41,200 --> 00:32:43,480
you settled on that when you do the because you're

513
00:32:43,480 --> 00:32:44,599
going to do a full album, right?

514
00:32:44,759 --> 00:32:45,359
Speaker 9: Is that the plant?

515
00:32:45,559 --> 00:32:48,160
Speaker 10: Well, we were thinking about singles just because you have

516
00:32:48,200 --> 00:32:49,720
a lot more to talk about more often.

517
00:32:49,960 --> 00:32:50,920
Speaker 9: True, that's true.

518
00:32:51,000 --> 00:32:52,079
Speaker 7: Yeah, And.

519
00:32:54,319 --> 00:32:56,920
Speaker 10: I like that idea, you know, because you're always fresh.

520
00:32:57,000 --> 00:32:59,400
And what we're hoping to do is, you know, we

521
00:32:59,519 --> 00:33:03,920
have any where from five to nine songs between me

522
00:33:04,039 --> 00:33:08,400
and Brian writing and some of those are just blow

523
00:33:08,559 --> 00:33:12,039
your head off rock. Yeah, kind of a combination of

524
00:33:12,119 --> 00:33:18,039
a I wouldn't say classic rock, not really, I don't

525
00:33:18,039 --> 00:33:21,839
know rock, classic rock, contemporary mixed all together, yeah yeah,

526
00:33:22,119 --> 00:33:24,359
and then throwing throwing in a little eighties flair with

527
00:33:24,799 --> 00:33:26,279
his lead solos and stuff.

528
00:33:26,559 --> 00:33:26,759
Speaker 5: Yeah.

529
00:33:26,960 --> 00:33:30,759
Speaker 9: So yeah, yeah, that's another thing too that comes up

530
00:33:30,759 --> 00:33:31,680
a lot on the show.

531
00:33:31,720 --> 00:33:33,079
Speaker 8: As you know, we live in a time where you

532
00:33:33,160 --> 00:33:35,839
can really there's so many different ways you can release music, so.

533
00:33:35,839 --> 00:33:37,880
Speaker 9: Many different strategies you can use.

534
00:33:38,039 --> 00:33:41,119
Speaker 8: And you know, like when I was growing up, it was,

535
00:33:41,240 --> 00:33:44,960
you know, an artist would usually the first single would

536
00:33:44,960 --> 00:33:46,680
go to radio. It was always an album, and the

537
00:33:46,680 --> 00:33:49,240
first single would go to radio six eight weeks before

538
00:33:49,279 --> 00:33:52,440
the album comes out, and then the album comes out,

539
00:33:52,480 --> 00:33:55,000
and then there's a second single and so forth and

540
00:33:55,279 --> 00:33:57,119
from there. But now you can do it so many

541
00:33:57,160 --> 00:33:59,559
different ways, and you know, you can just do singles.

542
00:33:59,599 --> 00:34:00,279
Speaker 9: You can do it ep.

543
00:34:00,599 --> 00:34:03,160
Speaker 8: You can. A lot of artists that we talk to

544
00:34:03,319 --> 00:34:06,640
now will it's kind of the inverse of how it

545
00:34:06,720 --> 00:34:09,280
originally worked. We're instead of releasing an album and then

546
00:34:09,320 --> 00:34:11,320
a bunch of singles, they release a bunch of singles

547
00:34:11,559 --> 00:34:12,920
that eventually coalesced.

548
00:34:14,880 --> 00:34:15,920
Speaker 9: Yeah, yeah, I think.

549
00:34:15,800 --> 00:34:17,000
Speaker 10: That's the direction we would go.

550
00:34:17,360 --> 00:34:17,599
Speaker 1: Yeah.

551
00:34:19,119 --> 00:34:21,719
Speaker 10: Yeah, I mean, interestingly enough, a lot of the songs

552
00:34:21,760 --> 00:34:24,639
are kind of very different, but for some reason, they

553
00:34:24,960 --> 00:34:27,039
they all seem to work as a storyboard when you

554
00:34:27,119 --> 00:34:29,159
put them together as an album. And I guess that's

555
00:34:29,239 --> 00:34:32,320
the way albums work, right, They're telling a story even

556
00:34:32,400 --> 00:34:37,480
though each song isn't exactly maybe the same genre or style.

557
00:34:38,119 --> 00:34:41,800
I feel like we have a lot of different stuff

558
00:34:41,880 --> 00:34:45,639
going on, but the dynamics are what keep that cohesive

559
00:34:45,880 --> 00:34:48,000
as an album if you were to put them all together.

560
00:34:48,199 --> 00:34:51,039
Speaker 9: Yeah, no, that makes sense, That makes sense. You want

561
00:34:51,079 --> 00:34:52,119
to you want to play another one?

562
00:34:52,239 --> 00:34:53,280
Speaker 22: We have time and want to.

563
00:34:53,719 --> 00:34:57,119
Speaker 10: Yeah, let me see what I got here. I got

564
00:34:57,159 --> 00:35:01,639
another original, which is you know we could do that? Well,

565
00:35:01,719 --> 00:35:03,559
we could do a cover. I don't know.

566
00:35:04,000 --> 00:35:05,480
Speaker 9: You want you want to play another original?

567
00:35:06,039 --> 00:35:06,199
Speaker 11: Yeah?

568
00:35:06,679 --> 00:35:08,800
Speaker 9: I really like your originals, So yeah, we'll.

569
00:35:08,679 --> 00:35:11,199
Speaker 10: Do that, because that's why I'm here. I'm here. I

570
00:35:11,360 --> 00:35:12,239
am a musician.

571
00:35:12,480 --> 00:35:14,719
Speaker 8: Yes, yes, if you are just joining us, we have

572
00:35:14,800 --> 00:35:16,480
Neon Gypsy live in studio.

573
00:35:19,519 --> 00:35:21,519
Speaker 10: This is a slower one, so ok, you can see

574
00:35:21,519 --> 00:35:22,960
it a little bit more mellow.

575
00:35:22,719 --> 00:35:56,800
Speaker 16: All right, Now, I could see maybe I'm down night.

576
00:35:58,800 --> 00:36:00,719
Speaker 18: Waiting cune until up to me.

577
00:36:01,760 --> 00:36:07,239
Speaker 19: Tell me it's all right? Now I can ask you

578
00:36:08,679 --> 00:36:15,280
on my hand, but I fill it. Don't expect you

579
00:36:15,440 --> 00:36:17,320
to wander stay.

580
00:36:21,360 --> 00:36:22,599
Speaker 18: Don't you normal time?

581
00:36:23,559 --> 00:36:25,880
Speaker 5: It has away?

582
00:36:26,280 --> 00:36:27,679
Speaker 16: Were things.

583
00:36:29,639 --> 00:36:35,159
Speaker 18: Like falling the brain damn into the streams. Don't you

584
00:36:35,320 --> 00:36:36,119
normally time?

585
00:36:37,039 --> 00:36:37,519
Speaker 12: It ha.

586
00:36:39,079 --> 00:36:39,360
Speaker 5: Way?

587
00:36:39,679 --> 00:36:41,159
Speaker 18: Were things.

588
00:36:43,119 --> 00:36:55,559
Speaker 23: Like pulling the rains damn into into the street, into.

589
00:36:55,440 --> 00:37:05,880
Speaker 24: The street, No, bam boot, I cove been lonely sitting

590
00:37:06,079 --> 00:37:11,320
right by your side, and now I could pulling your

591
00:37:11,559 --> 00:37:13,320
clothes wom your so.

592
00:37:15,039 --> 00:37:15,320
Speaker 5: Time?

593
00:37:16,599 --> 00:37:20,159
Speaker 25: And now I could tell you Patty your wrong that

594
00:37:20,440 --> 00:37:25,840
I indeed but your known this don't say but they

595
00:37:25,960 --> 00:37:33,000
cannot be. Don't you normal time?

596
00:37:33,960 --> 00:37:37,920
Speaker 18: It has a way wealthy face.

597
00:37:39,960 --> 00:37:44,320
Speaker 16: Like pulling the brains damn into the streets.

598
00:37:45,119 --> 00:37:50,840
Speaker 18: Don't you normally time? He has away wealth.

599
00:37:50,679 --> 00:37:59,679
Speaker 24: Face like pulling the brains damn into into the street.

600
00:38:05,199 --> 00:38:13,039
Speaker 15: It's you streets No ball bow, Yeah it's you streams

601
00:38:13,960 --> 00:38:48,599
No No, the no three b bo it's you three No,

602
00:38:49,599 --> 00:38:53,840
not the novel three.

603
00:39:11,119 --> 00:39:13,880
Speaker 8: That's my favorite one so far. Really, I really like that.

604
00:39:14,079 --> 00:39:16,199
I really like that. If you are just joining us

605
00:39:16,320 --> 00:39:19,239
neon Gypsy here with us live in studio on this

606
00:39:19,840 --> 00:39:25,880
Saturday morning, sounding fantastic. Now, are you what's your show

607
00:39:25,960 --> 00:39:28,400
schedule like, are you playing out a lot or are

608
00:39:28,480 --> 00:39:32,039
you more focused on recording or what's going on there.

609
00:39:32,800 --> 00:39:35,039
Speaker 10: I was playing out quite a bit as a you know,

610
00:39:35,079 --> 00:39:37,519
a cover artist and then mixing in some of my originals.

611
00:39:37,800 --> 00:39:39,840
Sometimes it was you know, three to four times a month,

612
00:39:39,880 --> 00:39:42,760
which was a little too much. I start started feeling

613
00:39:42,800 --> 00:39:45,199
a little more like a machine. Yeah, it was a

614
00:39:45,239 --> 00:39:47,679
lot of fun, So I'm slowing down a little bit.

615
00:39:48,159 --> 00:39:51,760
I will be playing in January at a really cool

616
00:39:51,840 --> 00:39:55,480
place in Gorham. It's called Sidecar Winding Whiskey Bar, which

617
00:39:55,559 --> 00:39:57,800
is a really swanky place you pull up a couch

618
00:39:57,920 --> 00:40:01,079
and get your you know, sniffer and just kind of

619
00:40:01,159 --> 00:40:04,679
pontificate about all of the music coming out of my mouth. Yeah,

620
00:40:05,199 --> 00:40:07,679
that's a really cool place. And a few other places

621
00:40:07,719 --> 00:40:10,760
that you can find on Neon Gypsy on my Facebook

622
00:40:10,840 --> 00:40:15,519
page for the events. But right now for twenty twenty five,

623
00:40:15,599 --> 00:40:18,639
I do have some venues in New Hampshire as well,

624
00:40:18,760 --> 00:40:21,840
the Barnyard. I'll be playing there this summer. They haven't

625
00:40:21,920 --> 00:40:26,119
quite got their their scheduled together yet. That's a really fun.

626
00:40:25,960 --> 00:40:28,239
Speaker 8: Place to play where is that I'm not familiar with.

627
00:40:28,320 --> 00:40:31,639
Speaker 10: That's in Candya Okay, Yeah, that's a really great venue.

628
00:40:31,679 --> 00:40:35,320
It's an outdoor venue and everybody there that you know,

629
00:40:35,400 --> 00:40:37,960
they're playing corn hole on the side, and you know,

630
00:40:38,079 --> 00:40:40,760
it's just it's such a great vibe, especially in the summer,

631
00:40:41,280 --> 00:40:44,800
and everybody there that just always they listen. You know,

632
00:40:44,880 --> 00:40:47,280
they're not just you know, they're enjoying themselves, but they

633
00:40:47,360 --> 00:40:50,719
really do listen and appreciate the music there. But we

634
00:40:50,840 --> 00:40:53,440
are I'm slowing down a little bit more on the

635
00:40:53,519 --> 00:40:56,079
idea of just play out, play out, play out, and

636
00:40:57,320 --> 00:40:59,360
got to focus on getting in the studio because some

637
00:40:59,440 --> 00:41:03,760
of these songs are so old, you know that now's

638
00:41:03,800 --> 00:41:05,840
the time, like we've got to get this done. Now

639
00:41:05,880 --> 00:41:07,760
that we got the upgrades in the studio.

640
00:41:07,519 --> 00:41:12,719
Speaker 8: Rolling yeah, absolutely, absolutely Now Now the goal is to

641
00:41:13,199 --> 00:41:16,320
obviously have other musicians coming and record with you, right,

642
00:41:16,360 --> 00:41:18,280
But you're not there yet, I assume with the studio

643
00:41:18,440 --> 00:41:19,599
or you're or maybe you are.

644
00:41:19,719 --> 00:41:20,760
Speaker 18: No, we are, yeah, we are.

645
00:41:21,480 --> 00:41:23,320
Speaker 10: You know. The only thing we don't have is a

646
00:41:23,440 --> 00:41:26,679
drum room and you know, acoustic drums. We work, you know,

647
00:41:27,159 --> 00:41:30,360
I think what what is nice about home studios or

648
00:41:30,400 --> 00:41:33,159
our studios. It's it's a small home studio, but we're

649
00:41:33,239 --> 00:41:35,320
working with an E kit so we can just plug

650
00:41:35,400 --> 00:41:39,400
in and you know, keep it simple, make it affordable,

651
00:41:39,639 --> 00:41:41,480
you know, so that people can come in and get

652
00:41:41,559 --> 00:41:44,840
creative and you're getting clean sounds coming out of that

653
00:41:45,000 --> 00:41:47,639
without the complication of having a degree to make up

654
00:41:47,760 --> 00:41:49,679
every drum on a kite.

655
00:41:49,760 --> 00:41:49,920
Speaker 4: Right.

656
00:41:50,159 --> 00:41:53,000
Speaker 10: Yeah, So we do have musicians coming in right now.

657
00:41:53,159 --> 00:41:55,760
We have Rick Ash that just finished up a track.

658
00:41:56,280 --> 00:41:59,840
He came in. He's from the Mid Coast area in Maine,

659
00:42:00,039 --> 00:42:04,280
and he just resurrected a song from the nineties, you know,

660
00:42:04,360 --> 00:42:07,239
with this old band Crazy Knave and Brian and I

661
00:42:07,320 --> 00:42:09,320
got to be a part of that and I got

662
00:42:09,360 --> 00:42:12,559
to play it's called Blackout Brandy. I got to play

663
00:42:12,639 --> 00:42:15,840
Blackout Brandy. I have a little cameo in the bridge.

664
00:42:16,079 --> 00:42:18,000
I get to play a drunk girl.

665
00:42:18,719 --> 00:42:22,360
Speaker 9: So yeah, okay, okay, so another word, So you're a

666
00:42:22,400 --> 00:42:23,239
Blackout Brandy, and.

667
00:42:24,119 --> 00:42:24,920
Speaker 10: I guess I would be.

668
00:42:25,480 --> 00:42:25,679
Speaker 5: Yeah.

669
00:42:27,840 --> 00:42:29,559
Speaker 10: I get a few things that I, you know, say

670
00:42:29,679 --> 00:42:31,199
in there, and then I get to sing just a

671
00:42:31,239 --> 00:42:34,079
little bit and nail it. I'll send you the song

672
00:42:34,599 --> 00:42:36,280
if you'd look, if you would play it, it would

673
00:42:36,320 --> 00:42:36,719
be awesome.

674
00:42:36,920 --> 00:42:37,480
Speaker 9: Absolutely.

675
00:42:37,639 --> 00:42:39,960
Speaker 10: Yeah, it's a great song that's mastered in out there

676
00:42:40,039 --> 00:42:41,159
and ready to go.

677
00:42:41,360 --> 00:42:42,199
Speaker 9: Oh fantastic.

678
00:42:42,320 --> 00:42:44,639
Speaker 10: Okay, yeah, so yeah, artists are welcome to come and

679
00:42:44,719 --> 00:42:46,880
visit us. Like I said, it's just a small, small,

680
00:42:46,920 --> 00:42:50,000
but mighty studio, you know. Okay, But the difference is

681
00:42:50,239 --> 00:42:52,599
we just had a musician come in who actually has

682
00:42:52,639 --> 00:42:55,159
a home studio and he's like, you know, I really

683
00:42:55,199 --> 00:42:57,480
don't quite know what I'm doing to the level of

684
00:42:57,679 --> 00:43:01,159
that Brian does in studio produce sing and recording. Yeah,

685
00:43:01,199 --> 00:43:03,039
and he just wanted to come in and relax and play.

686
00:43:03,119 --> 00:43:05,079
He didn't want to push the buttons and okay.

687
00:43:05,400 --> 00:43:07,880
Speaker 9: Yeah, so yeah, very cool.

688
00:43:08,039 --> 00:43:10,320
Speaker 8: Now, how do where should people go online to find

689
00:43:10,320 --> 00:43:11,920
out more about a Studio fifty one?

690
00:43:12,119 --> 00:43:14,480
Speaker 10: We have a Facebook page, okay, and it's you know,

691
00:43:14,559 --> 00:43:16,760
there's a lot of Studio fifty ones out there, but

692
00:43:17,320 --> 00:43:19,679
you know, we're out of Portland, Maine. And look for

693
00:43:19,760 --> 00:43:22,239
the spaceship with the half naked woman on the logo.

694
00:43:22,199 --> 00:43:24,400
Speaker 8: Okay, and with the guitar and that's us.

695
00:43:24,679 --> 00:43:27,880
Speaker 9: Okay, yeah, okay, very cool, very cool. Do you want

696
00:43:27,920 --> 00:43:29,719
to play one more? We have time if you want to.

697
00:43:29,719 --> 00:43:31,119
Speaker 10: I can play a cover tune.

698
00:43:31,360 --> 00:43:33,480
Speaker 8: Yeah, sure, yeah, whatever you want, yeah, all right, if

699
00:43:33,519 --> 00:43:35,639
you're just joining us. Neon Gypsy is here with us

700
00:43:35,679 --> 00:43:38,840
live in studio. Coming up in the second hour, we

701
00:43:39,000 --> 00:43:41,960
have the Healer, Mike McDowell will be here, and then

702
00:43:42,000 --> 00:43:44,599
in the third hour the return of Cody Pope and

703
00:43:44,760 --> 00:43:47,760
Byron g And I love having those guys on the show.

704
00:43:47,880 --> 00:43:48,719
Speaker 9: Always amazing.

705
00:43:48,880 --> 00:43:54,280
Speaker 8: But Neon Gypsy is sounding great here on this chilly

706
00:43:54,639 --> 00:43:55,519
Saturday morning.

707
00:43:55,639 --> 00:43:57,519
Speaker 10: But I'm getting warmed up a little bit.

708
00:43:57,639 --> 00:43:59,199
Speaker 8: Yeah yeah, it's warming up in here too.

709
00:43:59,239 --> 00:43:59,920
Speaker 9: I closed the door.

710
00:44:00,159 --> 00:44:00,559
Speaker 2: That helps.

711
00:44:01,760 --> 00:44:03,760
Speaker 10: My fingers are the last to get circulations.

712
00:44:03,840 --> 00:44:06,360
Speaker 8: Yeah, yeah, all right.

713
00:44:06,360 --> 00:44:07,760
Speaker 10: I'll play play cover to him.

714
00:44:07,639 --> 00:44:09,880
Speaker 26: For you, all right, if you'll know who this is, okay,

715
00:44:33,920 --> 00:44:37,440
in the sunshine, when she's gone.

716
00:44:40,559 --> 00:44:44,360
Speaker 16: It's no long Wesday, he's waiting.

717
00:44:47,199 --> 00:44:49,679
Speaker 18: You know, sunshall and she's gone.

718
00:44:51,519 --> 00:45:00,159
Speaker 11: She's going to know And at times she goes well, m.

719
00:45:24,159 --> 00:45:27,639
Speaker 27: One too, when this time gone.

720
00:45:30,800 --> 00:45:31,320
Speaker 5: One to her.

721
00:45:31,440 --> 00:45:39,159
Speaker 28: If she's gone on, stay here, you know, sushe and

722
00:45:39,320 --> 00:45:43,000
she's gone, she's gone away to.

723
00:45:43,400 --> 00:45:55,760
Speaker 11: No anytimes she goes away, no no one, no one.

724
00:45:55,719 --> 00:46:00,719
Speaker 17: No no no no no no no no no no

725
00:46:01,800 --> 00:46:08,519
no no no no no no no no no.

726
00:46:10,199 --> 00:46:10,880
Speaker 2: No, no.

727
00:46:12,400 --> 00:46:12,760
Speaker 12: One, no.

728
00:46:16,119 --> 00:46:22,679
Speaker 18: No, I mean this has no game, no sancha range.

729
00:46:26,159 --> 00:46:31,639
Speaker 5: Yeah no no no no.

730
00:46:35,400 --> 00:46:38,119
Speaker 12: No no no no no no.

731
00:46:41,960 --> 00:46:43,280
Speaker 16: No, no no no.

732
00:46:52,920 --> 00:46:56,880
Speaker 8: Oh, fantastic, fantastic Neon Gypsy here with us alive in

733
00:46:57,000 --> 00:47:00,239
studio and uh hey, before we wrap up in a moment,

734
00:47:00,280 --> 00:47:01,960
we're going to close out the segment with We're gonna

735
00:47:01,960 --> 00:47:04,880
play I'm gonna play Run Rudolph Run again, the new

736
00:47:04,960 --> 00:47:08,800
studio track. So we're very glad to feature that today

737
00:47:09,159 --> 00:47:11,440
as well. But where should people go online? What's the

738
00:47:11,480 --> 00:47:13,320
best place to go to keep up with everything that

739
00:47:13,400 --> 00:47:14,559
you're doing right now?

740
00:47:14,599 --> 00:47:16,719
Speaker 10: It's Facebook. I am on Instagram as well, got to

741
00:47:16,719 --> 00:47:19,280
get a little better about that. But on Facebook you

742
00:47:19,360 --> 00:47:22,599
can find me on Gypsy and there's there's actually two

743
00:47:22,639 --> 00:47:24,880
profiles out there. I just can't get that other one off.

744
00:47:25,079 --> 00:47:27,119
It's been hacked. So just look for the current one

745
00:47:27,159 --> 00:47:30,000
you'll find out of Portland. Yeah, and then Studio fifty

746
00:47:30,039 --> 00:47:32,599
one is just simply at Studio fifty one, look for

747
00:47:32,760 --> 00:47:36,039
the big ufo yeah logo with the with the half

748
00:47:36,119 --> 00:47:37,320
naked lady playing a guitar.

749
00:47:38,199 --> 00:47:40,719
Speaker 9: Well, you know what, for those watching online, put the

750
00:47:40,760 --> 00:47:41,239
camera on me.

751
00:47:41,400 --> 00:47:44,519
Speaker 8: There you go, there's for those of you watching, there's

752
00:47:44,599 --> 00:47:48,320
the lad is, there's the sticker, so very nice, very nice.

753
00:47:48,440 --> 00:47:50,519
Speaker 9: Well, thank you so much, Jennifer. This has been this

754
00:47:50,599 --> 00:47:51,280
has been amazing.

755
00:47:51,480 --> 00:47:53,400
Speaker 10: Thank you so much for having me. I really appreciate it.

756
00:47:53,519 --> 00:47:55,559
Speaker 8: Absolutely, we'll do it again in the future, especially where

757
00:47:55,559 --> 00:47:57,239
you've got more studio tracks coming up, so.

758
00:47:57,480 --> 00:47:58,079
Speaker 10: That'd be awesome.

759
00:47:58,159 --> 00:48:01,599
Speaker 9: Thank you, absolutely absolutely, And if you are listening.

760
00:48:01,400 --> 00:48:04,559
Speaker 8: Live on Saturday morning, stick around the healer. Mike McDowell

761
00:48:05,000 --> 00:48:07,360
is coming up. Uh, I'm gonna have to go let

762
00:48:07,480 --> 00:48:09,519
him in when he's uh when he arrives. So he's

763
00:48:09,599 --> 00:48:11,559
keeping me posted and uh.

764
00:48:11,480 --> 00:48:13,400
Speaker 9: It's a little chilly out there this morning. After all.

765
00:48:15,119 --> 00:48:17,599
Speaker 8: We will close out the segment with once again, this

766
00:48:17,840 --> 00:48:20,039
is the studio track, Run Rudolph Run.

767
00:48:20,400 --> 00:48:21,519
Speaker 9: This is Neon Gipsy.

768
00:48:28,639 --> 00:48:30,199
Speaker 13: You know you're gonna last mine.

769
00:48:32,800 --> 00:48:44,440
Speaker 17: Run rand Thank you, Bobby, Run, Don.

770
00:48:44,360 --> 00:48:50,440
Speaker 14: Ruda Sat, get to town, Santa Mega, down on.

771
00:48:50,480 --> 00:48:57,559
Speaker 12: NACAN, take the freeway down, Run Don Budo Baby go round.

772
00:48:58,280 --> 00:49:01,800
Speaker 14: Okay, yeah saying I don't by child, what have you

773
00:49:01,920 --> 00:49:02,679
been a meig for?

774
00:49:05,440 --> 00:49:08,400
Speaker 13: No, My Christmas is a fucking ball electric jar.

775
00:49:10,599 --> 00:49:11,599
Speaker 17: No no way an when.

776
00:49:11,599 --> 00:49:18,000
Speaker 14: Boodof wazn' i gotta shoot the star. Run don boodoll Santa,

777
00:49:18,119 --> 00:49:19,599
Do I get to child.

778
00:49:21,760 --> 00:49:22,079
Speaker 16: Santa?

779
00:49:22,400 --> 00:49:23,039
Speaker 15: Come right down?

780
00:49:23,280 --> 00:49:25,199
Speaker 13: He contact the freeway hour.

781
00:49:27,360 --> 00:49:29,800
Speaker 17: Run down boot beat in America.

782
00:49:29,960 --> 00:49:34,400
Speaker 13: Round okay, run run Boodo Santa.

783
00:49:34,480 --> 00:49:38,440
Speaker 5: Don't I get to child Santa?

784
00:49:38,559 --> 00:49:40,679
Speaker 17: Ni ahead, tell him he can take a freeway.

785
00:49:43,719 --> 00:49:49,079
Speaker 12: Run don bood be like Americal rounda.

786
00:50:05,079 --> 00:50:06,719
Speaker 13: Say saying that to you, my girl child?

787
00:50:06,840 --> 00:50:07,400
Speaker 16: What what please?

788
00:50:07,440 --> 00:50:08,400
Speaker 5: You wants to get.

789
00:50:10,960 --> 00:50:11,559
Speaker 13: Little baby?

790
00:50:11,679 --> 00:50:16,559
Speaker 12: Don they can grass, sleep, drink and wht not away

791
00:50:16,719 --> 00:50:17,840
went brudo.

792
00:50:17,679 --> 00:50:19,199
Speaker 13: Whiz and like a saber.

793
00:50:19,000 --> 00:50:24,159
Speaker 12: Chet run don rudo Sanada may.

794
00:50:24,119 --> 00:50:25,079
Speaker 5: Get to town.

795
00:50:27,239 --> 00:50:27,559
Speaker 17: Shada.

796
00:50:27,679 --> 00:50:30,119
Speaker 12: Make him down and he can take the freeway down

797
00:50:32,800 --> 00:50:55,519
run don Buda, feeling like American. Right, Okay, run don Bud,

798
00:50:57,360 --> 00:50:58,400
run Ruda.

799
00:51:00,119 --> 00:51:03,239
Speaker 5: Run on Buddha, run.

800
00:51:05,559 --> 00:51:07,960
Speaker 13: Run on America.

801
00:51:09,119 --> 00:51:11,360
Speaker 12: Okay, let back around.

802
00:51:50,519 --> 00:51:54,639
Speaker 4: It's beginning to love like Christmas.

803
00:51:56,639 --> 00:51:58,360
Speaker 5: Everywhere you go.

804
00:52:00,719 --> 00:52:02,599
Speaker 2: Take a look at the five and ten.

805
00:52:03,440 --> 00:52:08,320
Speaker 6: It's glistening once again with county Hans and silver lanes.

806
00:52:08,480 --> 00:52:09,199
Speaker 18: They're globe.

807
00:52:10,880 --> 00:52:15,119
Speaker 2: It's beginning to look alive like Christmas.

808
00:52:16,880 --> 00:52:19,079
Speaker 5: Tis on every store.

809
00:52:21,159 --> 00:52:25,000
Speaker 6: But the prettiest sign to see is the holly than

810
00:52:25,159 --> 00:52:28,360
the move on your own road.

811
00:52:51,760 --> 00:52:55,360
Speaker 4: It's beginning to look alive like Christmas.

812
00:52:57,880 --> 00:52:59,639
Speaker 16: Everywhere you go.

813
00:53:01,920 --> 00:53:05,440
Speaker 3: There's a tree in the Grand Hotel, one in the

814
00:53:05,599 --> 00:53:09,559
park as well. It's a curdy kind that doesn't mine

815
00:53:09,719 --> 00:53:15,800
the snow. It's beginning to look a lot like Christmas.

816
00:53:18,119 --> 00:53:23,679
So the bells will start and the thing that'll make

817
00:53:23,760 --> 00:53:27,920
them rain is the Carol Bet you sun right with

818
00:53:28,159 --> 00:53:30,599
thing your home.

819
00:53:32,639 --> 00:53:36,320
Speaker 4: It's beginning to look alive like Christmas.

820
00:53:38,599 --> 00:53:40,719
Speaker 2: Ties a love crystal.

821
00:53:43,360 --> 00:53:47,639
Speaker 7: But the prettiest sight to see is the holly that

822
00:53:47,920 --> 00:53:51,960
will be on your own front.

823
00:53:57,079 --> 00:53:58,599
Speaker 4: Sure's Christmas?

824
00:54:00,760 --> 00:54:26,199
Speaker 2: No m.

825
00:54:37,039 --> 00:54:38,039
Speaker 5: M hm m m.

826
00:54:44,199 --> 00:54:45,639
Speaker 16: Well you know.

827
00:54:47,840 --> 00:54:55,400
Speaker 29: Well, you know well, you know that you got there, said, well,

828
00:54:56,159 --> 00:55:00,400
you know well, you know well, you know that you

829
00:55:00,559 --> 00:55:00,960
got this.

830
00:55:02,920 --> 00:55:03,119
Speaker 3: Hmm.

831
00:55:05,920 --> 00:55:08,840
Speaker 30: Running through a mansion, answer in a standing question, left alone,

832
00:55:08,880 --> 00:55:11,000
through room, through both LEAs I know your left make question.

833
00:55:11,119 --> 00:55:13,679
Destiny is best to ring. Obsessing all my lessons learned,

834
00:55:13,719 --> 00:55:15,440
I think I've earned some rest agains. It's time to

835
00:55:15,519 --> 00:55:18,840
burn the desperate yearning furloughs to cope with later greater understanding.

836
00:55:18,920 --> 00:55:21,199
Handling matters as a man. In standing a football, we

837
00:55:21,320 --> 00:55:24,400
know what's right and making not demands, and never given

838
00:55:24,480 --> 00:55:26,639
into ghosts, just hoping for where change It never comes.

839
00:55:26,639 --> 00:55:29,079
As long as you don't run. It's fundamentally U central

840
00:55:29,159 --> 00:55:31,119
central intel spelled it out. It sounds a bit like

841
00:55:31,159 --> 00:55:32,679
selflf wellness. You've already won.

842
00:55:32,760 --> 00:55:35,559
Speaker 22: It's all about to combine some time is an illusion.

843
00:55:35,639 --> 00:55:37,239
You can do it because you've done it someday.

844
00:55:37,320 --> 00:55:39,239
Speaker 30: Some say, prove it to yourself and that's enough to

845
00:55:39,360 --> 00:55:41,239
use the runway claims be taking off a lot of

846
00:55:41,239 --> 00:55:43,360
these guys no lives. To try to find us flying freely,

847
00:55:43,480 --> 00:55:45,880
feeling finding finding flight, pass that, to find us climbing

848
00:55:45,920 --> 00:55:47,639
higher than we dared you scared to fall back to

849
00:55:47,719 --> 00:55:49,400
the ground, resounding off the atmosphere.

850
00:55:49,400 --> 00:56:01,119
Speaker 27: It's clear, will never come back down. Oh no, we're

851
00:56:01,239 --> 00:56:02,480
all out day.

852
00:56:04,639 --> 00:56:16,000
Speaker 31: Painting on this cat. Last our sparks left. We're burning

853
00:56:16,320 --> 00:56:24,480
like the stars. We've got scars as.

854
00:56:26,119 --> 00:56:27,159
Speaker 9: We fron them.

855
00:56:27,159 --> 00:56:29,920
Speaker 2: Working so.

856
00:56:33,280 --> 00:56:34,719
Speaker 3: Well, you know.

857
00:56:36,960 --> 00:56:39,119
Speaker 27: Well, you know well, you know that you got this,

858
00:56:43,800 --> 00:56:49,000
said well, you know well, you know well, you know

859
00:56:49,239 --> 00:56:50,039
that you got this.

860
00:56:54,840 --> 00:56:55,960
Speaker 22: I feel a little bitter.

861
00:56:56,079 --> 00:56:57,960
Speaker 30: I've just read a lot a lot of lyrics. Need

862
00:56:58,039 --> 00:57:00,119
a bit to sit and settle myself down before I

863
00:57:00,199 --> 00:57:03,199
hear it. Fear is nothing to do with the science system. Listen, serious,

864
00:57:03,199 --> 00:57:05,119
gear up, dust off script rust off. You can drive

865
00:57:05,159 --> 00:57:07,119
a number and ver six off this path that at

866
00:57:07,199 --> 00:57:10,400
last I I've found so many floors and lock doors

867
00:57:10,440 --> 00:57:13,239
are going down? How many more before I'm forced to

868
00:57:13,360 --> 00:57:15,920
lay down and take a break, Before I break and

869
00:57:16,079 --> 00:57:18,719
fade out, listening that this has got me thinking about

870
00:57:18,760 --> 00:57:22,239
what's missing. It's insensitive, obsessing over every single mistake, taking

871
00:57:22,320 --> 00:57:24,199
time and making rhymes to take my minds up all

872
00:57:24,239 --> 00:57:26,719
the sickness witness in between the lines of something written,

873
00:57:26,960 --> 00:57:28,199
you got this, you got this?

874
00:57:49,679 --> 00:57:51,039
Speaker 12: Well you know?

875
00:57:53,320 --> 00:57:53,800
Speaker 22: Will you know?

876
00:57:54,000 --> 00:57:55,480
Speaker 27: Will you know that you got this?

877
00:58:00,039 --> 00:58:00,360
Speaker 3: Listen?

878
00:58:00,559 --> 00:58:01,960
Speaker 5: Well you know?

879
00:58:04,239 --> 00:58:04,679
Speaker 22: Will you know?

880
00:58:04,920 --> 00:58:06,400
Speaker 27: Will you know that you got this?

881
00:58:08,480 --> 00:58:14,360
Speaker 22: M You can through these windows, watching people following windblows.

882
00:58:13,920 --> 00:58:15,840
Speaker 30: Holding on the hope that no wind, Folks beneath the

883
00:58:15,880 --> 00:58:18,360
way of carry getting their burdens, hurting inside and endout,

884
00:58:18,360 --> 00:58:21,039
trying trying to be something someday, some way, somehow, someone

885
00:58:21,119 --> 00:58:22,719
that they can be proud of, shure the world what

886
00:58:22,800 --> 00:58:24,719
they climbed out of, holding onto who they were.

887
00:58:24,639 --> 00:58:25,920
Speaker 22: While turning into something more.

888
00:58:26,000 --> 00:58:28,159
Speaker 30: Be putting keys in their own doors, ensuring needs to

889
00:58:28,239 --> 00:58:30,000
just be sure so they won't need to need no more.

890
00:58:30,039 --> 00:58:32,159
Speaker 22: Indeed, we plead to leave this poor imploring we don't

891
00:58:32,199 --> 00:58:32,719
need to work.

892
00:58:32,840 --> 00:58:36,480
Speaker 30: We can be without being forced, without being forced, without

893
00:58:36,519 --> 00:58:38,119
being forced, without being.

894
00:58:38,119 --> 00:58:42,079
Speaker 22: Forced, without being worn. We without being poor without being

895
00:58:43,000 --> 00:59:03,400
without In times of crisis, you need a law firm

896
00:59:03,480 --> 00:59:04,639
that stands by your side.

897
00:59:04,960 --> 00:59:08,679
Speaker 30: With over forty years of experience, Craigan Getzulis is dedicated

898
00:59:08,719 --> 00:59:12,119
to fighting for your rights. As former state prosecutors, our

899
00:59:12,159 --> 00:59:14,920
attorneys have the knowledge and trial experience to provide an

900
00:59:14,920 --> 00:59:19,239
aggressive defense against any charge, from DUIs to homicides.

901
00:59:19,760 --> 00:59:22,800
Speaker 22: If you've been injured, our compassionate team will assess your

902
00:59:22,840 --> 00:59:26,000
case and fight for the compensation you deserve. Serving all

903
00:59:26,039 --> 00:59:28,440
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904
00:59:28,519 --> 00:59:32,320
need us most. Visit Craigatzulis dot com for a free consultation.

905
00:59:32,639 --> 00:59:35,679
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