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Speaker 1: So Coop to day.

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Speaker 2: He was listening to the Greatful Dead for the rest

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of the day.

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Speaker 3: I wonder what this meant.

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Speaker 2: That I said.

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Speaker 3: That Cockball Day Lasting.

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Speaker 1: That Codall said.

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Speaker 3: That Cockball Day Lasting song com Tony.

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Speaker 2: He was listening to the Grateful Death.

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Speaker 3: He said, hey man, what show is that? He said,

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show me your hands. Then he shot my dogue.

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Speaker 2: Cop said.

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Speaker 4: That comeball in West.

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Speaker 2: That cop that come ball in.

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Speaker 5: That is Cops on Acid by Plague Dad. And we're

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gonna be talking to Plague Dad this morning here on

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the show.

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Speaker 1: Welcome everyone. It is Matt Connorton Unleashed.

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Speaker 5: And we are alive from the studios of w m

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N ninety five point three FM, Inglorious, Manchester, New Hampshire.

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Of course, you can stream the show at Matt connorton

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dot com.

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Speaker 1: Slash live.

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Speaker 5: Go there for all your live streaming options, social media links,

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contact and fosh archives, et.

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Speaker 1: Cetera, et cetera.

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Speaker 5: Today is Saturday, October twenty six, twenty twenty four, and

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I am not alone.

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Speaker 2: Jenny John Show guests.

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Speaker 1: Jenny is here at the news table.

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Speaker 4: Good morning, sunshine.

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Speaker 1: Yes, welcome, Welcome.

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Speaker 4: I know something they don't know.

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Speaker 1: You know something they don't know who's they.

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Speaker 4: Our listeners may not know. Well, some might know, but

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some may not know.

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Speaker 1: Oh, what's up?

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Speaker 4: Happy birthday, Matt? I have surprise for you.

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Speaker 1: MS supposed open this now? Yes, you're supposed.

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Speaker 4: To open the snow as I.

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Speaker 1: Knocked down my All right, well, thankfully.

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Speaker 4: Let's see you can you.

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Speaker 5: Know you have to?

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Speaker 1: Should I open the card later?

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Speaker 6: Okay, I'm just I've been excited. It took every ounce

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of my being. Can I give you your birthday presently?

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Speaker 1: Oh? Very nice? Should I read it?

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Speaker 4: You don't? You can if you'd like it. You don't

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have to if you don't want it.

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Speaker 5: Say's happy birthday to my strong, hard working, dependable, handsome,

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supportive and truly amazing boyfriend.

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Speaker 1: Very nice, Thank you, you're well, Matt.

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Speaker 5: A very happy birthday to the man I love always, Jenny,

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Thank you very much, very sweet. Oh there's something else

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in here too, Yeah, all right.

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Speaker 1: Let's see.

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Speaker 5: I should put the camera on me for those watching

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on online.

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Speaker 1: Yu, let's see I couldn't. Oh. Oh, we got some

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Matt Connorton unleashed.

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Speaker 4: That's just a bonus.

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Speaker 1: Okay.

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Speaker 4: The other one is more.

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Speaker 5: And some Matt Connorton hypnosis stickers a graphic.

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Speaker 1: Yeah of my logo. Yes, my fancy logo.

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Speaker 4: It will be available for purchase.

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Speaker 1: Oh very nice, thank you.

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Speaker 4: I thought you would love those.

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Speaker 1: Yes, thank you very much. All right, yes, well they're okay.

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My birthday is officially over.

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Speaker 5: Now, okay, that's that's the end of my birthday.

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Speaker 4: We limit discussions.

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Speaker 5: I loved birthdays when I was a kid, no kidding, right,

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you know, then you get to be an adult and

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it's like, uh.

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Speaker 4: Oh, my dad was like, I want a list. Me mean,

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I want a list. What a list of the things

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you'd like to have. Doesn't mean you're getting all of them.

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I just want a list. That was birthdays, and that

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was Christmas.

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Speaker 5: I mean, I don't know about everywhere else but here

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in New Hampshire. You know, when you're an adult, it's like, hey,

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time to register and inspect your car.

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Speaker 1: Happy birthday.

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Speaker 4: Give us money.

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Speaker 6: Yes, yes, that is the State of New Hampshire's Happy

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birthday to you, all of it. Residents of owned vehicles,

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that's right, and to have a driver's license, that's right.

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Speaker 4: Give us money. Happy birthday to you.

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Speaker 6: You have to pay the government to wish a happy

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birthday by engaging in commerce.

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Speaker 1: That's right, that's right. Although the government never forgets it's

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your birthday.

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Speaker 3: Got to give.

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Speaker 1: Credit for that, they never forget nop. So yeah, So

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welcome everybody.

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Speaker 5: We've got an exciting show in the second hour, really,

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October Suns is coming in.

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Speaker 1: Dave Wally's already in the chat room, really looking forward

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to that. Yes, yes, And.

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Speaker 5: In the third hour we have Rebecca Turmel, yeah, joining us.

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But right now, and this is the gentleman who is

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

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

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

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

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have you here. We're gonna play some of your other

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tunes today as well. But I do have to ask

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you right off the top, is that that song Cops

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

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you did you encounter a member of law enforcement who

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was on acid?

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Speaker 1: Well?

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Speaker 3: No, not so much that that was more the speculative part.

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It isn't It is actually based on an incident though

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a former life. I used to be a bike messenger

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back in San Francisco. Okay, so I rode around the

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city delivering things, picking up things and dropping them off

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for money. So one day I had picked up a

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filing that needed to make it to city Hall by

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a four thirty a deadline, you know, and need to

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get there quick quick.

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Speaker 1: It was on my way.

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Speaker 3: I was riding up Marcus Street as quickly as I could,

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and I ran into a police officer who was the

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doors of his cruiser were wide open and he was

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directing traffic but blaring out of the He was listening

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to the dead out of the out of his cruiser

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while he was directing traffic. And I was like, Okay,

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that's just interesting. You don't see that every day, And

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it stuck with me. And then later that night I

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wrote that song.

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Speaker 5: Oh okay, I know, I thought, maybe, so what about

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the shooting of the dog, because that that does happen

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as you know it does.

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Speaker 3: That was something that literally torn from the headlines. Yeah,

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so to speak. So that was, you know, I mean,

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with with songwriting, you try to, at least my approach

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is to try to start from something personal, whether it's

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deeply personal or superficially personal. I mean, I guess really

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is a judgment call. But then try to establish some

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connections and broaden the universality of it at the point,

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and given everything that's going on with our police these days,

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that seemed to be a direction.

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Speaker 1: Because they will. If you have a dog who needs

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to be put down, they will, they will do it

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for you.

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Speaker 3: Oh yeah, you just have.

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Speaker 5: To have a you know, like if you have a

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warrant for something, they'll show up at your house. Well

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they're well, they're they're they're you know, if you have

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like old Yeller or something, you don't want to do

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it yourself. Yeah, anyway, but you're not. But just to

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be clear, you're not. You're not pro law enforcement on acid.

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Speaker 3: You're I assume, well, you know, I always think that

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drug use is a personal choice. You know, while if

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if somebody who holds that position wants to do that,

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

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

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their own time is their their their business.

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Speaker 5: It is a It is a fun song though very

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catch it is, and it's fun and it's uh, it

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makes me laugh when I listen to it, and we

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

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getting an airplane? Yeah, uh do you know, uh, do

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you have any idea how many stations at this point

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have picked it up?

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Speaker 3: Eight or ten that I know of, you know, throughout

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New England. And then there's there's some in California that

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has started to play it as well. You know. I

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

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these days, like Apple Music, you know, for the artists now,

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if you're on Apple Music, they have started to track

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radio plays, yes, and they will tell you what stations.

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So it's gotten some play, and it's amazing, Like the Midwest,

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it's gotten some play out in the Midwest. It's gotten

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some play in Brazil. Yeah, you know, I mean, it's

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

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to get subtraction. Yes, and you know, I've noticed that

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shows now, I play a lot of shows. For me,

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that's the essence of music. I mean, I love making

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records and I love radio, but music to me is

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and essentially it's a it's it's a very deeply personal experience. Yes,

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And so at shows now when I play that song,

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people are actually starting to sing long. Oh that's great,

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blows me away, excellent.

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Speaker 1: Yeah, that's very cool. That's that's awesome.

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Speaker 5: We should mention too, and I'll put the camera back

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on me for a moment for people watching online on

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the Facebook or YouTube so people can see it. So

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you brought this, yeah, I'll kind of hold it up.

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You can't can't zoom in unfortunately. But so this is now,

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this is Vinyl.

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Speaker 3: It is it's a seven inch record. Very cool for

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songs on it, very cool.

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Speaker 5: Yes, so a seven inch for for those who don't know,

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

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and this will you can put this on a regular

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turn time? Absolutely obviously, Yeah, but for people who don't know,

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you know, because Vinyl has had such a resurgence, but

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

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Speaker 3: Well, it's very I pressed two hundred copies of these.

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

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

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sell one hundred and seven inch records is just and

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again getting back to that deeply personal experience. I mean

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I listened to music through all sorts of medium. I

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

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

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that for a growing number of people, they want some

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sort of physical connection yes to the music. Yeah, and

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a record or a cassette or to a lesser extented

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CD will provide that.

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Speaker 1: Yeah.

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Speaker 3: I mean that the first fifty copies of that come

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with a comic book as well that you can only

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get with this record. And it was done by the

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artist named Paul Kurt John who did the cover art

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

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comics artist in the UK okay. And I ran into

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him online because on this record is a cover of

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a tune by Black Flag called six Pack Oh okay,

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And we can't play it here today because it's a

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heavy laden with profanity and just isn't appropriate for the

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audience on a Saturday morning here. But yes, he came.

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He's a Paul is an enormous Black Flag fan, and

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he came across the song and we hooked up and

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we talked, and he's offered to do the cover of

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the record because he just really dug the tune and

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I was like, oh yeah, man, absolutely, and then he said, well,

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could you you want to do a comic book too.

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

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give it away.

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Speaker 1: Wow.

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Speaker 3: So he sent me the files, you know, from the UK,

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and I printed it here and I printed fifty copies.

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I have eight left. I keep forgetting to bring the

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

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mail order, you definitely get the comic book you come

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to a show. If I remember to bring up I

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

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Speaker 1: Okay, all right, thank you.

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Speaker 3: Yeah, it's uh, it's a it's a it's a it's

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a very offensive comic book to some people. Yeah, it's

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it's it's uh. It pushes the boundaries. Okay, okay, which

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is right up my alley?

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Speaker 2: Uh?

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

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Speaker 3: I record wherever I can. Honestly, this record was recorded

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

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and uh mixed by a by a man named Dan

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

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guy has some of the best years that I've ever

254
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run across. And he also plays drums and sits in

255
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with me sometimes. It shows if I need a drummer.

256
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Oh okay, So he's played with me a couple of times.

257
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He plays with everybody in Portland. If you've seen a

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

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or bass or guitar.

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Speaker 5: Or you know, well, every every drummer I know. I mean,

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

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know is in like multiple multiple bands.

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Speaker 3: Indeed, So this one was recorded there at Monaco Studios.

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

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

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it has a name yet, but I hope to do

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

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part of it. I play a lot of shows with

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

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

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of their absences. I guess, it's not how I sort

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of walked into this. But they have a studio, so

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I'm gonna be doing some recording there. I've done some

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recording with them as well, excellent, So really wherever I

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can sit it in. I also just record up in

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my attic. I have a little home studio that I

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demo things up there, and I try to record as

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

279
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live show has a different feel. So I just did

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a tour in August with vices In and I recorded

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a bunch of those shows. And I have another set

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that I recorded at the Cody In Theater in Portland

283
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where I opened up a film festival. It was the

284
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opening act for film, so I recorded that. That was

285
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with a full band, very much the sound that you

286
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heard with this track that you played, you know, bass drums, mandolin, vocals, guitar.

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So I have a half hour set of that sound.

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And then I have another show this a half an

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hour that's solo, just me and a foot drum and

290
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and you know, and and it's very different field, but

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it's the same songs, yeah, I mean literally, I mean

292
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it's almost the same set list. So I'm going to

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release that on a cassette only release, Okay, So you're

294
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gonna get, you know, the full band on one side

295
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and the solo set on the other side, and I'm

296
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going to print one hundred copies. They're in production right now,

297
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and Paul is going to do the cover right for

298
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that as well, and those are going to be available

299
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on my website. Play Got Dad and on my band

300
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camp page as well.

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Speaker 5: By the way, I think it's so cool that your

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side is plague dot Dad because a lot of people too,

303
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you know, I'm a web designer, so I know this,

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

305
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You know, you can get a lot of different you know,

306
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you know, it doesn't have to be dot com or

307
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dot net or you know, at this point, you can

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

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Speaker 3: Oh yeah, yeah, you know it's funny. I kind of

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backed into this one too, because I do a lot

311
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of this myself. So I built the website myself. I

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did you know, I came to the u r L

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

314
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the nature of the music business these days. And I

315
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went through I'm going to name and shame here. I

316
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went through go Daddy to buy my domain name. I

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

318
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which was fine, and I got it for a year

319
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and it went to what it expired. Yeah, and Go

320
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Daddy has created a company now and they bought the

321
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thing out from under me and offered to sell it

322
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back to me for six hundred dollars, and I was like,

323
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you know what, I'm done. Not only am I done,

324
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I'm actually gonna just, you know, whenever the opportunity comes up,

325
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I'm gonna talk smack about you. So here we are

326
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talk a smack about go daddy, because if that's their

327
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business model for independent artists, then they are going down

328
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the wrong road. So now I found somebody else. So

329
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I've learned how to do this myself. I change the

330
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domain plague dot Dad. It's much better.

331
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Speaker 1: Well, who who do you own the we should plug?

332
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Who do you own the domain through?

333
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Speaker 3: Now you know it's uh, I believe it's through band

334
00:16:28,440 --> 00:16:32,360
Zogle I think is yeah. Yeah. They help with the

335
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website and make it really easy and set up the

336
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store to sell the records. I mean it's just sort

337
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of a one stop shop. And for a musician who

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

339
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have a suite of tools that makes it just as

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easy as it can possibly be.

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Speaker 5: Absolutely one. Yeah, No, that's that's uh, that's very cool.

342
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Uh So where does the name come from? Uh, plague Dad?

343
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And and people can probably guess indeed, you know there

344
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there we we did go through a little bit people

345
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might remember, yeah, a bit of a pandemic.

346
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Speaker 3: Yeah, absolutely, well, in fact, that is where it comes from. Yeah,

347
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you know, when the pandemic emerged, Like a lot of folks,

348
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I lost my job at the time, so I had

349
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a lot of time on my hands. I ended up

350
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in my attic just writing songs and I've always been

351
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a musician, you know, yeah, and writing some songs and

352
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recording them and I would send them out to friends

353
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or post them on you know, snippets on social media,

354
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and it started to get some traction, and it's like, well, wow,

355
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that's kind of cool. So the name just sort of

356
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suggested itself. I mean, I am we during that time,

357
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we sort of all better or worse turned inward. I

358
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mean it was very you know, you were alone and

359
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with your family. In my case, I have actually I

360
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am a father, I have you know, three kids, and

361
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it's just sort of emerged as a Yeah, in that

362
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in a time like that, you know, you're you're at

363
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least for me, family was one of the most important things.

364
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Speaker 1: Yea.

365
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Speaker 3: And so it's just sort of captured everything that was

366
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going on at that time, both personally and culturally for me.

367
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In a in a bumper sticker if you will. And

368
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then from a marketing perspective, I was like, all right,

369
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that that really conjures up everything that I would need

370
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a band name.

371
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Speaker 1: Right.

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

373
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right right.

374
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Speaker 1: Yeah, No, it's great.

375
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Speaker 5: And I regular listeners hear me say this all the time.

376
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But you know, but I always say, you know, the

377
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pandemic was an awful experience for us all but you

378
00:18:44,839 --> 00:18:47,319
gotta find these silver linings where you can. And one

379
00:18:47,359 --> 00:18:50,039
of the big silver linings is, you know, just broadly,

380
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is it really kind of forced people to be more

381
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creative and and find ways to do things or or

382
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expand on existing ways to do things. But you know,

383
00:18:59,640 --> 00:19:02,359
for example, you saw a lot of like bands, you know,

384
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doing online performances where they're all in separate places, that

385
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kind of thing. Yeah, it also opened people up to

386
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people who may have been you know, because I always

387
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I ask every guest, you know, where do you record?

388
00:19:14,279 --> 00:19:18,279
Because you have so many options now, But it really

389
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kind of I think the pandemic opened people up to

390
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people who maybe were resistant to you know, just sending

391
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files back and forth and recording that way now found

392
00:19:28,720 --> 00:19:30,519
themselves in a position where okay, well, I guess I

393
00:19:30,599 --> 00:19:33,119
better figure out how to make this work. So it

394
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really kind of, I think, expanded the boundaries that people

395
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have in their minds in terms of how to be creative,

396
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how to make music or anything else.

397
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Speaker 3: Oh indeed, no, no, no, no question. And you know

398
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it's interesting some with all the technology that exists now,

399
00:19:48,000 --> 00:19:53,279
it by it there's a toolbox that is unprecedented. I

400
00:19:53,279 --> 00:19:56,319
mean from a musical perspective. Yeah, power that we have

401
00:19:56,440 --> 00:20:02,279
available to us now as musicians is exp eventually stronger

402
00:20:02,359 --> 00:20:04,839
and more robust than it was even just a couple

403
00:20:04,839 --> 00:20:08,920
of years ago, ten or twenty years ago. Curiously, though,

404
00:20:09,200 --> 00:20:15,440
I used that technology too. I wanted to create a

405
00:20:15,640 --> 00:20:19,920
sound and some material that could be played should that

406
00:20:20,000 --> 00:20:23,599
technology not be available. You know, I mean, what can

407
00:20:23,640 --> 00:20:27,240
I just do with a voice, right, some wood and

408
00:20:27,279 --> 00:20:30,319
some guitar strings, you know, wooden instruments that don't have

409
00:20:30,400 --> 00:20:33,359
to be amplified. You know, a foot drum, you know,

410
00:20:33,519 --> 00:20:36,960
these these tools that are there regardless of whatever the

411
00:20:37,000 --> 00:20:42,680
technology situation is. And again it gets back to that connection,

412
00:20:42,839 --> 00:20:46,599
that deep personal connection. I'm not saying that, you know,

413
00:20:46,640 --> 00:20:50,279
you can't forge that connection through technology, but I was

414
00:20:50,319 --> 00:20:54,279
looking for something a little more primal, and so I really,

415
00:20:54,440 --> 00:20:59,119
you know, you made an artistic decision to base this

416
00:20:59,200 --> 00:21:06,640
in acoustic instruments, and that acoustics sound filtered through that

417
00:21:06,759 --> 00:21:10,480
punk rock ethos that brought me into music in the

418
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first place.

419
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Speaker 1: Yeah.

420
00:21:12,039 --> 00:21:15,079
Speaker 5: So so prior to this, so prior to plague, Dad,

421
00:21:16,240 --> 00:21:19,519
what what were you doing musically before?

422
00:21:19,519 --> 00:21:20,880
Speaker 1: Were you in a band or were.

423
00:21:20,759 --> 00:21:23,799
Speaker 3: You Yeah, this is a long sorted tale. How much

424
00:21:23,839 --> 00:21:24,359
time we.

425
00:21:24,480 --> 00:21:26,759
Speaker 1: Oh, we have time? Yeah, it's only nine twenty, we

426
00:21:26,759 --> 00:21:28,759
have time. I love a long sorted tail. Yeah.

427
00:21:28,799 --> 00:21:33,240
Speaker 3: No, I started playing, you know, a lawn back in

428
00:21:33,279 --> 00:21:37,400
the tees. Into this. I'm in my fifties, Okay, So

429
00:21:37,440 --> 00:21:40,240
I started playing. My first band was a band called

430
00:21:40,279 --> 00:21:43,039
Scouts on Her and I went to the Berkeley College

431
00:21:43,039 --> 00:21:45,960
of Music and with a couple of Berkeley students who

432
00:21:46,000 --> 00:21:49,000
happened to be from San Francisco. Oh, and we you know,

433
00:21:49,400 --> 00:21:52,079
we gigged around Boston. We played the rat, we played

434
00:21:52,119 --> 00:21:54,200
T T's you know, you know, we're doing some things

435
00:21:54,240 --> 00:21:56,480
like that. Yeah, and then these guys said, you know what,

436
00:21:56,599 --> 00:21:58,920
let's just move to San Francisco. Man, Let's just yeah.

437
00:21:59,079 --> 00:22:02,079
So we bought the school bus, ripped out the seats,

438
00:22:02,160 --> 00:22:04,279
threw all a crap in and moved to San Francisco.

439
00:22:04,319 --> 00:22:07,039
Speaker 1: O kid, Yeah, now, what what year was this?

440
00:22:07,039 --> 00:22:08,680
Speaker 3: This is in nineteen eighty seven.

441
00:22:08,599 --> 00:22:09,480
Speaker 1: Okay eighty seven.

442
00:22:09,640 --> 00:22:13,759
Speaker 3: Yeah, So we started playing around there and did pretty

443
00:22:13,799 --> 00:22:17,359
well put out a record. Uh we were. We ended

444
00:22:17,440 --> 00:22:19,880
up playing a show with Nirvana, no kids, playing a

445
00:22:20,160 --> 00:22:22,400
show with the Google Dolls. We ended up playing with

446
00:22:22,480 --> 00:22:25,119
a couple of you know, dands like Alice Donut and

447
00:22:25,279 --> 00:22:29,519
Primus and Mister Bungle, And I mean we were going

448
00:22:29,599 --> 00:22:32,000
up and down the West coast, playing from La to Seattle,

449
00:22:32,079 --> 00:22:33,319
doing that whole thing.

450
00:22:33,519 --> 00:22:33,759
Speaker 1: Yeah.

451
00:22:33,839 --> 00:22:36,799
Speaker 3: Yeah, and uh you could you know, it's still a

452
00:22:36,839 --> 00:22:39,559
copy a couple of copies of that record floating around somewhere.

453
00:22:39,599 --> 00:22:42,319
I'm sure you could find it on eBay or discogs

454
00:22:42,400 --> 00:22:46,000
or something like that. Yeah, but uh, it got to

455
00:22:46,039 --> 00:22:50,680
the point where that just wasn't fun anymore, did it?

456
00:22:50,720 --> 00:22:52,559
Speaker 1: What did it become more like work? It did?

457
00:22:52,839 --> 00:22:55,480
Speaker 3: Yeah, and it became you know, it's a grind.

458
00:22:55,519 --> 00:22:57,200
Speaker 5: I mean people think, you know, people think, oh, you

459
00:22:57,240 --> 00:23:00,599
go on tour and oh my god, it's just uh wine.

460
00:23:00,599 --> 00:23:01,559
Women in Song is like.

461
00:23:03,680 --> 00:23:07,200
Speaker 3: Yeah, and beyond that, there's just sort of the emotional

462
00:23:08,319 --> 00:23:11,559
aspect to it as well. You know, I've a I've

463
00:23:11,599 --> 00:23:16,440
come to understand on the deeply personal level that comparison

464
00:23:16,519 --> 00:23:21,400
is the thief of George. And at that point in

465
00:23:21,440 --> 00:23:24,559
my life as a young person, You're all about am

466
00:23:24,559 --> 00:23:27,119
I doing? Am I? Am I? Is it successful? Is

467
00:23:27,119 --> 00:23:28,359
it going to be successful? What?

468
00:23:28,400 --> 00:23:28,599
Speaker 1: Am I?

469
00:23:28,680 --> 00:23:28,839
Speaker 7: You know?

470
00:23:28,960 --> 00:23:32,720
Speaker 3: I mean, it's all about that competition. And one day

471
00:23:32,880 --> 00:23:34,680
we had booked the show and we were going to

472
00:23:34,759 --> 00:23:37,400
open for Helmet at the Kennel Club, which was, you know,

473
00:23:37,599 --> 00:23:39,160
a club in San Francisco at the time on the

474
00:23:39,200 --> 00:23:42,839
Visadero Street. And the guy we had played there a

475
00:23:42,880 --> 00:23:45,200
couple of times in the show's great and the club

476
00:23:45,240 --> 00:23:47,440
owner called me back a couple of weeks before the

477
00:23:47,480 --> 00:23:49,200
show and he said, you know what, you guys are

478
00:23:49,240 --> 00:23:51,960
off the show? Why? He said, well, you know, we

479
00:23:52,000 --> 00:23:54,480
got to call. Helmet was on amphetamine Reptile at that time,

480
00:23:54,519 --> 00:23:57,880
before they had gotten big huge, and he said, you know,

481
00:23:57,920 --> 00:23:59,839
the label called and they said we can't get Helmet,

482
00:23:59,880 --> 00:24:04,359
and we take these two other acts promote as well. Sorry,

483
00:24:04,960 --> 00:24:07,799
And that was it. I could just feel something just snapped.

484
00:24:08,319 --> 00:24:12,440
You know what, I'm done, This is it. I just

485
00:24:12,480 --> 00:24:16,720
can't do this anymore. Yeah, So I went back. I

486
00:24:16,799 --> 00:24:20,279
left San Francisco. I went back to school, and uh.

487
00:24:19,880 --> 00:24:21,319
Speaker 1: Did you go back to Berkeley or No.

488
00:24:21,359 --> 00:24:22,720
Speaker 3: I went to went to or and I went to

489
00:24:22,759 --> 00:24:25,720
Umaie and became a journalist.

490
00:24:26,279 --> 00:24:26,640
Speaker 1: Reporter.

491
00:24:26,759 --> 00:24:30,400
Speaker 3: I was a reporter for a long time, reporter, columnist,

492
00:24:30,480 --> 00:24:33,599
and an editor. Made my way back to San Francisco,

493
00:24:33,720 --> 00:24:37,200
where I actually covered city hall politics in San Francisco

494
00:24:37,279 --> 00:24:39,960
for for quite a while. And what's fascinating to me

495
00:24:40,079 --> 00:24:42,160
is that the folks who were merging into the national

496
00:24:42,200 --> 00:24:46,480
power structure now Gavin Newsom, who was the governor, Kamala Harris,

497
00:24:46,799 --> 00:24:49,200
these were the folks who were holding local offices when

498
00:24:49,240 --> 00:24:52,039
I was covering Oh wow, city hall. I remember when

499
00:24:52,079 --> 00:24:54,720
Gavin was appointed to the city council by Willie Brown,

500
00:24:55,240 --> 00:24:57,640
a good friend of mine was Commala's chief of staff

501
00:24:57,640 --> 00:25:00,519
when she was the district attorney. So you know, I

502
00:25:00,559 --> 00:25:03,759
did that for a very long time. Yeah, and uh wow,

503
00:25:03,880 --> 00:25:05,759
the background of print journalism.

504
00:25:05,279 --> 00:25:06,000
Speaker 1: Oh wow.

505
00:25:06,240 --> 00:25:09,480
Speaker 3: And got married, raise kids and just sort of set

506
00:25:09,559 --> 00:25:13,119
the music things aside for a while to yeah, concentrate

507
00:25:13,240 --> 00:25:17,279
on journalism and raising.

508
00:25:16,920 --> 00:25:19,960
Speaker 1: My family and yeah, you know, wow.

509
00:25:19,599 --> 00:25:24,640
Speaker 3: When the pandemic rolled around again, though, the opportunity presented

510
00:25:24,640 --> 00:25:28,000
itself to get back into some of the music. Yeah

511
00:25:28,039 --> 00:25:32,400
so I did. Yeah, yeah, you know, three and a half,

512
00:25:32,440 --> 00:25:35,319
four years into it. It just keeps rolling, which is

513
00:25:35,359 --> 00:25:38,359
you know, yep, I'm thankful for that every day.

514
00:25:38,519 --> 00:25:42,720
Speaker 5: Yeah, excellent, excellent. We should uh, well, let's play another track. Sure,

515
00:25:43,119 --> 00:25:45,119
I'll I'll let you pick. Uh.

516
00:25:45,319 --> 00:25:47,720
Speaker 3: Well, you know, there's like, there's four songs on this record.

517
00:25:47,759 --> 00:25:50,680
The uh there's the there's one called slip the Leash,

518
00:25:51,200 --> 00:25:56,519
which really speaks to sort of my love hate relationship

519
00:25:56,519 --> 00:26:00,000
with technology. Oh okay, in a minute and a half, uh,

520
00:26:00,200 --> 00:26:03,079
very short, which mix should we go with? Well, you know,

521
00:26:03,200 --> 00:26:05,400
let's let's do the Let's do the Monoco mix and

522
00:26:05,400 --> 00:26:07,480
then talk about the you know, because I like to

523
00:26:07,519 --> 00:26:12,279
remix tunes and we've done that with something.

524
00:26:13,000 --> 00:26:14,559
Speaker 1: Right, right, Okay, So we'll play the.

525
00:26:14,599 --> 00:26:17,680
Speaker 3: Monaco Monica being the studio where we recorded it, which

526
00:26:17,680 --> 00:26:19,359
is why.

527
00:26:17,920 --> 00:26:21,519
Speaker 5: It's yeah yeah, yeah, and uh yeah, great, great sound

528
00:26:21,880 --> 00:26:22,519
coming out of there.

529
00:26:22,799 --> 00:26:25,599
Speaker 3: Fantastic studio. Sam Monico, who was the host of the

530
00:26:25,640 --> 00:26:29,519
Locomotive Show on w MPG. Oh okay to Portland is

531
00:26:29,519 --> 00:26:34,559
a fantastic support of the local music scene, and it's

532
00:26:34,599 --> 00:26:38,119
just a great guy and that studio is remarkable.

533
00:26:38,400 --> 00:26:41,880
Speaker 5: Okay, let's give this a listen. So, uh, this is

534
00:26:41,920 --> 00:26:45,000
called whoops out there. It is Slip the Leash, the

535
00:26:45,039 --> 00:26:59,839
Monico mix and play Dad, check this out.

536
00:27:00,119 --> 00:27:03,799
Speaker 3: Have mine, but I need it for work.

537
00:27:05,759 --> 00:27:06,920
Speaker 2: I need it for work.

538
00:27:09,839 --> 00:27:11,400
Speaker 3: We've all got lap office.

539
00:27:11,480 --> 00:27:16,119
Speaker 7: That's how we all in the world today.

540
00:27:16,720 --> 00:27:18,000
Speaker 3: That's how we connect.

541
00:27:19,759 --> 00:27:23,960
Speaker 4: At least that's what they say.

542
00:27:24,680 --> 00:27:29,400
Speaker 3: I live near the airport, right under the flight path.

543
00:27:31,319 --> 00:27:35,519
Speaker 7: I hear the engines and I see the planes.

544
00:27:37,559 --> 00:27:41,720
Speaker 3: Take the kids to the airport. We'll get the flights.

545
00:27:43,359 --> 00:27:47,079
Speaker 7: We talk move about where we might go start a

546
00:27:47,200 --> 00:27:50,559
new life.

547
00:27:51,839 --> 00:27:55,079
Speaker 2: We've all got smartphones and a wish to Christ.

548
00:27:55,400 --> 00:27:59,519
Speaker 3: I didn't even have mine, but I need it for work.

549
00:28:05,759 --> 00:28:09,079
Speaker 1: That is Slip the Leash. That is a Plague Dad.

550
00:28:09,119 --> 00:28:11,240
Speaker 5: We have Frank Gallagher of Plague Dad here with us

551
00:28:11,240 --> 00:28:12,160
alive in studio.

552
00:28:12,720 --> 00:28:12,960
Speaker 1: That.

553
00:28:13,160 --> 00:28:16,279
Speaker 5: Uh, that song in particular, I think is relatable in

554
00:28:16,319 --> 00:28:19,720
that Uh. I think probably a lot of people feel that.

555
00:28:19,799 --> 00:28:19,920
Speaker 1: Well.

556
00:28:19,920 --> 00:28:21,519
Speaker 5: I shouldn't even say probably, I know a lot of

557
00:28:21,559 --> 00:28:24,880
people feel that way, because, uh, people talk about it

558
00:28:24,880 --> 00:28:27,079
all the time on on Facebook. You'll you'll see and

559
00:28:27,119 --> 00:28:29,559
hear people. Well, I shouldn't say you'll hear, but you'll

560
00:28:29,559 --> 00:28:32,519
see people talking about in post you know, I hate.

561
00:28:32,440 --> 00:28:33,880
Speaker 1: Uh, I hate all this technology.

562
00:28:33,920 --> 00:28:36,200
Speaker 3: Well it's funny. I mean this is of one company

563
00:28:36,200 --> 00:28:38,839
now has made at the centerpiece of their new ad campaigns,

564
00:28:38,880 --> 00:28:41,920
the ads featuring Atlantis Morset. Yeah, are talking about how

565
00:28:42,079 --> 00:28:44,319
we all have to use our phone people. Is this

566
00:28:44,400 --> 00:28:47,519
sort of this love hate relationship with technology. And it's

567
00:28:47,559 --> 00:28:51,359
fascinating to me from a cultural and a personal perspective,

568
00:28:51,400 --> 00:28:53,440
because you know, the promise of the internet was that

569
00:28:53,480 --> 00:28:55,720
it would create community and that it would bring us

570
00:28:55,759 --> 00:28:58,920
all together, right, and in some ways it absolutely has

571
00:28:58,960 --> 00:29:02,000
done that, But in any other ways it has done

572
00:29:02,119 --> 00:29:08,279
exactly the opposite. Has fractured communities, it has destroyed communities,

573
00:29:08,359 --> 00:29:12,440
and it has very much provided people, you know, this

574
00:29:12,599 --> 00:29:16,960
illusion of community when really they're just in their own

575
00:29:17,880 --> 00:29:21,039
cocoon with that with that phone, and they interact and

576
00:29:21,079 --> 00:29:23,279
people I shouldn't. I don't say they. I'm as guilty

577
00:29:23,319 --> 00:29:27,000
of it as anybody. But we interact these days through

578
00:29:27,200 --> 00:29:35,799
a screen as opposed to intentionally and personally, which is

579
00:29:38,640 --> 00:29:40,759
it is what it is. We we make our own

580
00:29:40,759 --> 00:29:42,079
decisions about how we deal with that.

581
00:29:42,359 --> 00:29:47,559
Speaker 5: I think, yeah, And people say things to online that

582
00:29:47,599 --> 00:29:50,279
they would never say in person, you know, and and

583
00:29:50,319 --> 00:29:53,359
the way people treat each other online. I mean, you know, yeah,

584
00:29:53,440 --> 00:29:55,160
like some of the things that have been said to

585
00:29:55,160 --> 00:29:58,400
me online. It's like, you know, sometimes I think, you know,

586
00:29:58,440 --> 00:30:00,599
I'm not a violent person by any and I'm no

587
00:30:00,680 --> 00:30:02,400
tough guy, but if this person said that to me

588
00:30:02,519 --> 00:30:04,880
in real life to my face, I probably punched them.

589
00:30:04,960 --> 00:30:05,519
Speaker 3: Absolutely.

590
00:30:06,119 --> 00:30:06,319
Speaker 1: Yeah.

591
00:30:06,440 --> 00:30:12,960
Speaker 3: No. The facade of anonymity that that we either believe

592
00:30:13,000 --> 00:30:17,640
in or you know, construct is yeah, it allows that

593
00:30:17,680 --> 00:30:19,200
to happen and encourages.

594
00:30:18,759 --> 00:30:23,160
Speaker 5: That yeah, yeah, time courage, yeah yeah. And I also

595
00:30:23,200 --> 00:30:25,559
hear people say too, you know, well, like you so

596
00:30:25,759 --> 00:30:29,799
you you stepped away from Facebook, absolutely, and from a

597
00:30:29,880 --> 00:30:33,160
mental health perspective, you're probably a lot better off. But

598
00:30:34,240 --> 00:30:35,880
at the same time, it's like, you know, because we

599
00:30:35,880 --> 00:30:37,720
were kind of talking off there about how at the

600
00:30:37,880 --> 00:30:40,400
you know, it does, but it does put certain constraints

601
00:30:40,440 --> 00:30:42,119
on you in terms of promoting what you're doing.

602
00:30:43,039 --> 00:30:46,160
Speaker 3: No question, I'm read I will reach fewer people because

603
00:30:46,160 --> 00:30:49,799
I'm not on Facebook. Yeah, But in the balance, if

604
00:30:49,839 --> 00:30:52,319
you make a list of the upsides and the downsides,

605
00:30:53,119 --> 00:30:58,319
upsides of beating off of Facebook vastly outweigh the downsides.

606
00:30:58,400 --> 00:31:01,640
Speaker 5: Yeah, yeah, see, I doing this radio show and everything,

607
00:31:01,680 --> 00:31:03,559
there's no way I can oh, yeah, you know, like

608
00:31:03,640 --> 00:31:07,319
I'm I'm locked in. But I but I don't, you know,

609
00:31:07,400 --> 00:31:11,240
I don't engage much in terms of you know, like

610
00:31:11,279 --> 00:31:12,880
the way that I use it. You know, I'll share

611
00:31:12,920 --> 00:31:16,160
out things related to the show or promote other things

612
00:31:16,160 --> 00:31:18,839
that I'm doing, and I use it for my hypnotherapy

613
00:31:18,880 --> 00:31:21,680
practice and all this, you know, is to let people

614
00:31:21,720 --> 00:31:24,160
know what I'm doing. But and sometimes I'll I'll post,

615
00:31:24,319 --> 00:31:26,759
especially in the last couple of years, I'll post things

616
00:31:26,759 --> 00:31:28,680
that might be more personal or that I just think

617
00:31:28,680 --> 00:31:32,920
are funny. But when when people start commenting, if because

618
00:31:33,039 --> 00:31:34,680
the thing is too We live in a in a

619
00:31:35,599 --> 00:31:39,079
time when you don't have to be you don't have

620
00:31:39,160 --> 00:31:44,359
to be even remotely. Like I posted something recently about

621
00:31:45,640 --> 00:31:49,599
about getting vaccinated, and you know, i'd gone to write

622
00:31:49,599 --> 00:31:51,839
eight and you know, got my flu shot COVID booster

623
00:31:52,079 --> 00:31:55,119
and so of course and I just posted something funny

624
00:31:55,119 --> 00:31:57,240
about it. How you know, the pharmacist said, you know,

625
00:31:57,279 --> 00:32:00,200
go sit down and for fifteen minutes, and then you know,

626
00:32:00,240 --> 00:32:02,440
as soon as he's not looking, I sneak out.

627
00:32:03,000 --> 00:32:04,640
Speaker 1: You know, because you know, it's not my first time

628
00:32:04,640 --> 00:32:04,839
with it.

629
00:32:04,880 --> 00:32:08,240
Speaker 5: I know, you know, I am gonna have a side effect,

630
00:32:08,279 --> 00:32:10,319
but it's gonna be later when I'm exhausted.

631
00:32:10,559 --> 00:32:11,680
Speaker 1: But of course, you know, so.

632
00:32:11,640 --> 00:32:13,680
Speaker 5: I just post something like that because I think it's funny,

633
00:32:13,680 --> 00:32:17,480
and of course, you know, anti vaxxers and everybody's may

634
00:32:17,680 --> 00:32:21,319
make it a totally political thread. But what I do

635
00:32:21,519 --> 00:32:25,839
is I don't engage because because I just I don't

636
00:32:26,000 --> 00:32:29,799
argue about politics or anything. I just I don't argue

637
00:32:29,799 --> 00:32:32,519
with people on social media. I refuse to. I find

638
00:32:32,519 --> 00:32:38,200
it both just unenduringly just it's it's so tedious and

639
00:32:38,359 --> 00:32:43,480
it's entirely pointless, and and uh so I just I

640
00:32:43,519 --> 00:32:48,480
actually learned to kind of enjoy when that happens, because

641
00:32:48,519 --> 00:32:51,079
people start posting all this mean, angry stuff at me

642
00:32:51,240 --> 00:32:53,519
over what I thought was just a funny post.

643
00:32:54,039 --> 00:32:55,039
Speaker 1: But instead of.

644
00:32:55,039 --> 00:33:01,240
Speaker 5: Engaging, I actually take pleasure in not engaging, knowing that

645
00:33:01,319 --> 00:33:04,960
it's making them crazy that I'm not engaging, because they

646
00:33:05,000 --> 00:33:07,759
want me to argue with them, right right, and uh

647
00:33:08,480 --> 00:33:10,240
they want me to fight with them, and I'm not

648
00:33:10,319 --> 00:33:14,119
doing it, and I know it bothers them indeed. Well, yeah,

649
00:33:14,119 --> 00:33:16,640
and I absolutely get get a laugh out of knowing

650
00:33:16,680 --> 00:33:17,400
that it bothers you.

651
00:33:18,440 --> 00:33:20,960
Speaker 3: Yeah, no, there's there's a lot to be said for that. Yeah,

652
00:33:20,960 --> 00:33:23,720
it's just yeah, emotionally, I just like I said, emotionally,

653
00:33:23,720 --> 00:33:28,440
intellectually just didn't have the bandwidth. Yeah for it. Again,

654
00:33:28,519 --> 00:33:31,839
it's do I want to give an hour to these

655
00:33:32,039 --> 00:33:35,119
people and Mark Zuckerberg or do I want to spend

656
00:33:35,119 --> 00:33:39,240
an hour in a meaningful time that you know sparks joy?

657
00:33:39,319 --> 00:33:39,559
Speaker 1: Yeah?

658
00:33:39,720 --> 00:33:47,720
Speaker 5: Yeah, exactly, yeah, yeah, exactly choose joy choose absolutely absolutely.

659
00:33:49,799 --> 00:33:51,559
Well no, no, So let me ask you this, So,

660
00:33:51,640 --> 00:33:55,160
how how have you because you know, as we discussed,

661
00:33:55,160 --> 00:33:57,799
I mean, you're having some success. You know, Cops on

662
00:33:57,880 --> 00:34:00,720
Acid is catching on and and you know you're you're

663
00:34:00,960 --> 00:34:01,839
selling your music.

664
00:34:02,920 --> 00:34:05,200
Speaker 1: What because a lot of a lot of people.

665
00:34:04,920 --> 00:34:06,400
Speaker 5: In the industry listen to the show, A lot of

666
00:34:06,400 --> 00:34:08,480
a lot of musicians listen to the show. Like what

667
00:34:08,559 --> 00:34:11,599
advice do you have for for anyone who maybe doesn't

668
00:34:11,639 --> 00:34:15,039
want to have to do? You know you utilize Facebook? Like,

669
00:34:15,159 --> 00:34:17,119
how are you what is your approach? How are you

670
00:34:17,199 --> 00:34:17,599
doing this?

671
00:34:18,599 --> 00:34:21,639
Speaker 3: Play as many live shows as you can.

672
00:34:21,920 --> 00:34:22,000
Speaker 2: Ye.

673
00:34:22,360 --> 00:34:26,119
Speaker 3: Music is all about being heard. Yeah, it's you know,

674
00:34:26,159 --> 00:34:29,000
it's like that old if tree falls in the forest

675
00:34:29,000 --> 00:34:32,360
and nobody hears it? Does it happen right? Well? You know?

676
00:34:32,480 --> 00:34:34,639
I mean, if you write a song and nobody hears it,

677
00:34:34,760 --> 00:34:39,159
did it get written? Go out and play shows? Yeah,

678
00:34:39,320 --> 00:34:42,920
go to open mics, go play wherever you can. You

679
00:34:42,920 --> 00:34:46,360
know when I when when this project first started to

680
00:34:46,400 --> 00:34:49,480
come together and seemed as if it would have legs,

681
00:34:49,880 --> 00:34:52,159
we couldn't play shows that there was no place to

682
00:34:52,199 --> 00:34:54,880
physically get a get a gig because the pandemic had

683
00:34:54,920 --> 00:34:57,719
taken care of everything was shut down. So I literally

684
00:34:57,760 --> 00:35:01,400
went out into the streets and played started busking. I

685
00:35:01,639 --> 00:35:05,000
absolutely and I still do it. I love it. I

686
00:35:05,079 --> 00:35:07,679
go as often as I can if I don't have

687
00:35:07,800 --> 00:35:09,599
If I'm in Portland and at home and I don't

688
00:35:09,639 --> 00:35:11,960
have a show on a Friday or Saturday night, you

689
00:35:12,000 --> 00:35:14,719
will typically find me down in the Old Port between

690
00:35:14,760 --> 00:35:16,519
six and nine playing music.

691
00:35:16,760 --> 00:35:16,880
Speaker 1: Kid.

692
00:35:17,119 --> 00:35:21,320
Speaker 3: Absolutely. I use what's called an AMP that is a

693
00:35:21,400 --> 00:35:24,400
rolling tube street. This thing runs on batteries. Yeah, it

694
00:35:24,480 --> 00:35:26,159
runs on eight double a's and it runs for six

695
00:35:26,159 --> 00:35:29,679
hours on eight double as pushes fifty watts. It has

696
00:35:29,719 --> 00:35:32,440
three channels. I can run my guitar and my vocals

697
00:35:32,480 --> 00:35:35,199
and my little foot drum through it. And I will

698
00:35:35,239 --> 00:35:39,119
just go play for three hours. And I've met some

699
00:35:39,400 --> 00:35:44,760
amazing musicians just just doing that, and people will gather around,

700
00:35:44,960 --> 00:35:47,199
and you know, I'll bring a crowd, you know, and

701
00:35:47,239 --> 00:35:51,840
that I love busking because you will know immediately what

702
00:35:51,960 --> 00:35:54,480
works and what doesn't. Yes, you know, if people stop

703
00:35:54,639 --> 00:35:58,440
and are listening, then you're doing something right. If people

704
00:35:58,480 --> 00:36:02,719
are walking by, you know, I'm and I the thing

705
00:36:03,639 --> 00:36:06,239
I'm looking for, reaction. You know, what works, what doesn't work,

706
00:36:06,320 --> 00:36:10,519
what makes people happy, what pisses people off. The worst

707
00:36:10,559 --> 00:36:13,880
thing in my mind is ambivalents. That's what drives me nuts.

708
00:36:14,760 --> 00:36:18,840
Hate being ignored. And maybe that's a personal thing, and

709
00:36:18,880 --> 00:36:21,079
I fully cop to it. You know, call me attention

710
00:36:21,320 --> 00:36:25,400
or whatever. No I think, so I don't if you

711
00:36:25,480 --> 00:36:28,440
hate it, you know, but a reaction is what I'm

712
00:36:28,440 --> 00:36:35,760
looking for and busking provides that immediate feedback. And beyond that,

713
00:36:35,960 --> 00:36:40,400
you know, part of being a musician is learning how

714
00:36:40,440 --> 00:36:43,119
to perform and make no mistake. That is a skill

715
00:36:43,159 --> 00:36:46,519
set that is separate and apart from learning your skills

716
00:36:46,679 --> 00:36:49,320
and your modes and how to solo and how to improvise.

717
00:36:49,480 --> 00:36:53,000
And you know that's there's an element of showmanship that

718
00:36:53,079 --> 00:36:56,800
you need to develop, and the only way to do

719
00:36:56,880 --> 00:36:58,480
that is to get out there on the stage and

720
00:36:58,480 --> 00:37:01,760
play in front of people. And so I'm thankfully I'm

721
00:37:01,840 --> 00:37:04,760
fortunate enough at this point where I'm I'm actually getting

722
00:37:04,800 --> 00:37:07,480
a lot of shows indoors. But if I, like I say,

723
00:37:07,480 --> 00:37:11,320
if I genuinely love busking because I don't have to

724
00:37:11,400 --> 00:37:13,639
be there at eight fifteen, I don't have to load

725
00:37:13,719 --> 00:37:16,280
in at eight twenty five, I don't have to play

726
00:37:16,360 --> 00:37:19,159
twenty two minutes. You know, I don't have to I

727
00:37:19,199 --> 00:37:21,079
can play whatever a damn well please, I can play

728
00:37:21,119 --> 00:37:23,239
the same song four times if I want, Yeah, you know,

729
00:37:23,320 --> 00:37:26,880
and I use that to go workshop new material. Okay,

730
00:37:26,920 --> 00:37:28,639
and you know some of these songs that we're playing

731
00:37:28,639 --> 00:37:32,880
today have evolved dramatically out there on the pitch. Yeah,

732
00:37:33,079 --> 00:37:34,960
is what does buskers call where we play?

733
00:37:35,079 --> 00:37:37,039
Speaker 1: Okay? I didn't know. I didn't know that. I've heard

734
00:37:37,079 --> 00:37:39,199
that phrase. Okay, okay, and.

735
00:37:39,079 --> 00:37:43,800
Speaker 3: It's uh so I'm you know, if it's warm tonight,

736
00:37:43,920 --> 00:37:46,679
I may actually go out, yeah, because you know, I

737
00:37:46,719 --> 00:37:50,760
have some shows coming up next three weekends. But I'm

738
00:37:50,800 --> 00:37:53,440
actually off tonight, so I may be out.

739
00:37:53,320 --> 00:37:54,440
Speaker 1: There in Portland.

740
00:37:54,800 --> 00:37:56,920
Speaker 5: I'm just curious, do you need any kind of a

741
00:37:56,960 --> 00:37:58,719
permit or anything, or do they just let you do

742
00:37:58,800 --> 00:37:59,519
it or you.

743
00:37:59,480 --> 00:38:05,039
Speaker 3: Know, you're My understanding is that you're supposed to have

744
00:38:05,119 --> 00:38:08,559
some sort of permit if you're amplified, and I often

745
00:38:08,599 --> 00:38:14,119
am amplified. That said, I've never had somebody stop me

746
00:38:14,239 --> 00:38:16,960
and ask me for that permit. And I'm Dan in

747
00:38:17,000 --> 00:38:19,079
the old port where you know, on a Friday or

748
00:38:19,119 --> 00:38:22,519
Saturday night where there is a police presence, and those

749
00:38:22,639 --> 00:38:26,000
officers down there have actually come to know me because

750
00:38:26,000 --> 00:38:30,280
I'm there frequently and like what I do because they know.

751
00:38:30,559 --> 00:38:33,559
I mean, I'm a sort of a known commodity and

752
00:38:34,960 --> 00:38:38,519
I've so I haven't had that problem yet. That said,

753
00:38:38,559 --> 00:38:42,039
I've heard from some other buskers in Portland that they've

754
00:38:42,079 --> 00:38:46,480
had some some run ins some uh you know, some

755
00:38:46,519 --> 00:38:50,960
of the compliance staff. But every town is different. Like

756
00:38:51,039 --> 00:38:53,880
in in Boston you don't need a permit across the

757
00:38:53,920 --> 00:38:57,880
river and Cambridge you do. Yeah, oh yeah, absolutely so really,

758
00:38:57,960 --> 00:39:00,239
I mean, if it's something that you're wanting, if you're

759
00:39:00,239 --> 00:39:02,360
a musician, it is something you want to try, hey

760
00:39:02,639 --> 00:39:06,920
do it absolutely because it's just fantastic experience. It's it's

761
00:39:07,079 --> 00:39:10,360
so much fun. But look check into it. You know,

762
00:39:10,480 --> 00:39:12,800
make some calls, do the research, sure, figure it out.

763
00:39:12,920 --> 00:39:13,239
Speaker 1: Sure.

764
00:39:13,760 --> 00:39:16,599
Speaker 5: And I don't even know what the I don't know

765
00:39:16,639 --> 00:39:19,760
what the laws are on that or rules are here

766
00:39:19,800 --> 00:39:20,800
in Manchester. You know.

767
00:39:20,840 --> 00:39:22,360
Speaker 3: It's funny you say that to you, because I was

768
00:39:22,400 --> 00:39:24,679
coming in this morning and coming over the bridge and

769
00:39:24,719 --> 00:39:26,159
then wow, I bet I could.

770
00:39:26,760 --> 00:39:26,960
Speaker 1: Yeah.

771
00:39:27,159 --> 00:39:28,840
Speaker 3: It's like whenever I come into it town, that's my

772
00:39:28,840 --> 00:39:31,239
first thing. It's like, there's the pitch, Where would be

773
00:39:31,320 --> 00:39:31,880
the best pitch?

774
00:39:32,000 --> 00:39:34,840
Speaker 5: Yeah, because I see them on Elm Street. But not much,

775
00:39:35,079 --> 00:39:37,119
actually not as much as I used to. It seems like,

776
00:39:37,199 --> 00:39:38,920
so I don't know, I have no idea what the

777
00:39:39,039 --> 00:39:43,239
what the rule is. But was that when you first

778
00:39:43,599 --> 00:39:44,519
started doing that?

779
00:39:44,800 --> 00:39:47,119
Speaker 1: Was it? Was it intimidating at first?

780
00:39:47,199 --> 00:39:50,920
Speaker 3: Oh my gosh, yaaah? But you have to you know,

781
00:39:51,679 --> 00:39:53,519
there's a couple of things going on. I'm at the

782
00:39:53,519 --> 00:39:55,039
point in my life now where I just don't care

783
00:39:55,519 --> 00:39:58,519
what people think anymore. I'm just beyond that, you know,

784
00:39:58,559 --> 00:39:59,280
I really don't.

785
00:39:59,679 --> 00:40:02,440
Speaker 1: And that's one of the few good things about getting older.

786
00:40:02,440 --> 00:40:02,760
You did it.

787
00:40:03,280 --> 00:40:05,239
Speaker 5: It's a short list, but as you get older, you

788
00:40:05,400 --> 00:40:07,559
just naturally become less self conscious.

789
00:40:07,679 --> 00:40:10,719
Speaker 1: It's more like, you know who cares what people think exactly.

790
00:40:11,679 --> 00:40:17,320
Speaker 3: Beyond that, it's people you're not You're not hurting anybody,

791
00:40:17,400 --> 00:40:20,480
you know, you know, just people can ignore it if

792
00:40:20,480 --> 00:40:23,719
they want, you know, right. So it's it's as long

793
00:40:23,760 --> 00:40:26,000
as you're not blocking the sidewalk. That seems to be

794
00:40:26,039 --> 00:40:29,000
the you know, you don't want to cause anybody any problems.

795
00:40:29,559 --> 00:40:34,280
But if you're just out there doing your thing, you know. Yeah, Now, man,

796
00:40:34,320 --> 00:40:38,639
I'm a ham. Yeah, you got to work to shut

797
00:40:38,679 --> 00:40:39,280
me up now.

798
00:40:41,000 --> 00:40:43,239
Speaker 1: In the uh, you know what about in the winter,

799
00:40:43,400 --> 00:40:43,679
do you?

800
00:40:43,960 --> 00:40:46,079
Speaker 5: I mean, is there anywhere where you can do that indoors,

801
00:40:46,440 --> 00:40:47,679
like in a mall or well.

802
00:40:47,559 --> 00:40:49,880
Speaker 3: You know, it's it's it's it's funny. I don't know

803
00:40:49,920 --> 00:40:53,760
about the mall, but like last winter. Uh, there's a

804
00:40:53,840 --> 00:40:56,920
there's a a pub in Portland called bram Hall which

805
00:40:57,000 --> 00:41:00,480
is on Congress Street and I just walked in there

806
00:41:01,039 --> 00:41:04,039
one night. A guy behind the bar had to be

807
00:41:04,079 --> 00:41:05,480
the manager. I said, hey, how about you just let

808
00:41:05,519 --> 00:41:08,000
me play here every Thursday night? And he's like, what

809
00:41:08,000 --> 00:41:10,559
do you mean? And I said, well, here's what I

810
00:41:10,559 --> 00:41:13,320
explained to him. You know what's going on? I said,

811
00:41:13,320 --> 00:41:15,880
I'm getting too cold and your places to play? Yeah,

812
00:41:16,519 --> 00:41:18,800
I said, you know, to pay me, and there's no amplifications,

813
00:41:18,840 --> 00:41:21,800
just me and my acoustic guitar and my drum. So

814
00:41:21,840 --> 00:41:25,880
there's no laws about entertainment, there's no permits or anything

815
00:41:25,920 --> 00:41:27,679
like that. How about you just let me roll in

816
00:41:27,719 --> 00:41:30,400
here with my tip Jart Thursday night. Yeah, on Thursday

817
00:41:30,440 --> 00:41:34,440
nights and play and if people are digging it, fantastic.

818
00:41:34,519 --> 00:41:38,840
If they're not, I'll move along. And he's like, yeah,

819
00:41:39,000 --> 00:41:41,360
all right. And I did that for six months.

820
00:41:42,199 --> 00:41:42,360
Speaker 6: Yeah.

821
00:41:42,400 --> 00:41:45,239
Speaker 3: It actually turned out really really and it got to

822
00:41:45,280 --> 00:41:47,760
be a thing. I mean, if people start to hear

823
00:41:47,800 --> 00:41:50,519
about this, if you're any good, I mean, that's why

824
00:41:50,559 --> 00:41:53,400
I encourage people to play live. If you're any good,

825
00:41:53,800 --> 00:41:58,599
you will find traction because people like live music. If

826
00:41:58,639 --> 00:42:02,480
you suck, maybe not so much, you know, because but

827
00:42:02,960 --> 00:42:05,440
I was fortunate enough that people would would come around,

828
00:42:05,480 --> 00:42:08,320
and people will come back. There were regulars, they'd come in,

829
00:42:08,880 --> 00:42:10,760
you know, because they knew what was going on and

830
00:42:10,800 --> 00:42:13,960
they people like live music. So I would start to

831
00:42:13,960 --> 00:42:17,280
have friends come by, and you know, people other other

832
00:42:17,360 --> 00:42:20,320
musicians that I know from around town, sit in, do

833
00:42:20,400 --> 00:42:23,280
a couple of tunes. You know. It got to become

834
00:42:23,320 --> 00:42:25,719
a thing, and it was actually pretty cool. And then

835
00:42:25,719 --> 00:42:29,000
the plays change ownership and the new manager came in.

836
00:42:29,119 --> 00:42:31,400
It's just the vibe wasn't the same really, and I

837
00:42:31,440 --> 00:42:36,039
was like, yeah, okay, this was played so yeah yeah.

838
00:42:35,199 --> 00:42:38,039
Speaker 5: But I mean, I think the broader point, though it

839
00:42:38,039 --> 00:42:40,199
sounds like that you're making, is it's it's so important

840
00:42:40,239 --> 00:42:40,760
to build.

841
00:42:40,519 --> 00:42:43,519
Speaker 3: A relationship, absolutely, and that's the currency.

842
00:42:43,599 --> 00:42:46,800
Speaker 5: You know, so you you can get around Facebook, oh yeah,

843
00:42:46,840 --> 00:42:49,320
you know, or other forms of uh, but.

844
00:42:49,199 --> 00:42:54,119
Speaker 3: Play live and when if you're a young musician or

845
00:42:54,159 --> 00:42:56,400
a musician who's young in your career and you're just

846
00:42:56,440 --> 00:43:00,039
starting out, play as many shows as you can and

847
00:43:00,159 --> 00:43:03,320
stay for the other bands. Yeah, listen to those other

848
00:43:03,400 --> 00:43:07,480
bands and talk with those other bands and create and

849
00:43:07,599 --> 00:43:14,000
nurture those relationships, because that's how you find your audience,

850
00:43:14,760 --> 00:43:16,639
and that's how you develop your audience, and that's how

851
00:43:16,679 --> 00:43:19,559
you grow your audience. I mean, you can have ten

852
00:43:19,679 --> 00:43:22,760
thousand followers on Instagram, but if you can't put twelve

853
00:43:22,760 --> 00:43:26,280
people into a club, does that have any meaning? Does

854
00:43:26,320 --> 00:43:27,079
that any value?

855
00:43:27,280 --> 00:43:27,599
Speaker 1: Yeah?

856
00:43:27,960 --> 00:43:28,599
Speaker 3: What are you know?

857
00:43:28,800 --> 00:43:29,519
Speaker 1: Good? Yeah?

858
00:43:29,559 --> 00:43:31,960
Speaker 5: No, that's a great point and an important one because

859
00:43:32,000 --> 00:43:33,800
of the club or the bar or the venue, you know,

860
00:43:33,840 --> 00:43:35,079
they the promoter they don't.

861
00:43:35,480 --> 00:43:38,480
Speaker 1: It's you know, they're impressed if you.

862
00:43:38,519 --> 00:43:42,480
Speaker 5: Have a lot of Instagram followers, but what they really

863
00:43:42,519 --> 00:43:44,440
care about is how many of them are going to show.

864
00:43:44,360 --> 00:43:50,199
Speaker 3: Up exactly exactly. Yeah. Yeah, So now you know, it's

865
00:43:50,239 --> 00:43:52,400
getting to be I'm looking around and again I'm thinking, well,

866
00:43:52,440 --> 00:43:54,960
maybe I need to find another brand Hale, because it's

867
00:43:55,000 --> 00:43:59,000
getting colder. And that said, I also just need to

868
00:43:59,039 --> 00:44:01,079
take some time. I've been playing so many shows and

869
00:44:01,159 --> 00:44:03,280
touring and I think you know, this past summer I

870
00:44:03,280 --> 00:44:04,400
played probably seventy.

871
00:44:04,119 --> 00:44:07,159
Speaker 1: Five eighty shows, no kidding, wow, it.

872
00:44:07,599 --> 00:44:10,679
Speaker 3: Which is fantastic. I love it. Yeah, I'm not complaining.

873
00:44:10,840 --> 00:44:13,719
What I'm saying is I have about twelve to fifteen

874
00:44:13,840 --> 00:44:16,159
songs of a disturbing amount of songs that are half done.

875
00:44:16,320 --> 00:44:18,000
Speaker 1: Okay, I really.

876
00:44:17,800 --> 00:44:20,800
Speaker 3: Just need to finish, you know, So maybe I take

877
00:44:20,880 --> 00:44:23,400
six or eight weeks and just take it down a

878
00:44:23,440 --> 00:44:25,360
notch and finish those songs.

879
00:44:25,400 --> 00:44:28,239
Speaker 1: And you know, and when you play live, is it

880
00:44:28,280 --> 00:44:30,960
always just you? Do you ever have guest musicians.

881
00:44:30,559 --> 00:44:32,840
Speaker 3: Or I you know, I do. I will play with

882
00:44:33,559 --> 00:44:35,960
I look at the show, at what the venue is

883
00:44:36,000 --> 00:44:40,199
and who I'm playing with, and pull together if it's

884
00:44:40,199 --> 00:44:42,840
a tour, it's probably gonna be me sol yeah, because

885
00:44:42,840 --> 00:44:46,079
the cost musically these days, and you know, the business

886
00:44:46,159 --> 00:44:50,440
of the music business is so fundamentally broken now that

887
00:44:50,840 --> 00:44:54,320
a touring band is very difficult to pull off.

888
00:44:54,480 --> 00:44:55,119
Speaker 1: Oh yeah, I.

889
00:44:55,039 --> 00:44:57,480
Speaker 3: Mean you're gonna a they're gonna low ball you on

890
00:44:57,519 --> 00:44:59,480
the gate, you're not gonna get if you get paid,

891
00:44:59,559 --> 00:45:01,800
You're gonna take a cutting and birch ye at. You know.

892
00:45:01,920 --> 00:45:06,199
I mean there's just this. You can't do it. It's

893
00:45:06,280 --> 00:45:08,920
very difficult, right, So off, when I go on tour,

894
00:45:08,960 --> 00:45:13,480
I'm solo. When I'm playing locally or you know, regionally,

895
00:45:13,760 --> 00:45:17,559
I will pull together a band. You know. I played

896
00:45:17,559 --> 00:45:19,760
a show at Ginos the other night with the band

897
00:45:19,760 --> 00:45:22,320
called Euphemia, who, for my money, is the best local

898
00:45:22,320 --> 00:45:26,840
band in Portland right now. These guys are fantastic. Oh god,

899
00:45:26,840 --> 00:45:29,559
their new record self released. It was It's been the

900
00:45:29,639 --> 00:45:33,000
number one local record at Bull Moose now for a

901
00:45:33,079 --> 00:45:35,920
long time. These guys are amazing.

902
00:45:36,119 --> 00:45:36,400
Speaker 1: Okay.

903
00:45:36,599 --> 00:45:39,559
Speaker 3: So I opened for them at at Geno's and I

904
00:45:39,639 --> 00:45:41,519
pulled together the punk rock trio for that.

905
00:45:41,599 --> 00:45:41,760
Speaker 1: You know.

906
00:45:41,800 --> 00:45:44,199
Speaker 3: I had Dan Capaldi played drums and a guy named

907
00:45:44,199 --> 00:45:47,440
Mike Berkowitz who plays bass with a couple of jazz

908
00:45:47,480 --> 00:45:50,880
bands around town, sat in on bass and you know,

909
00:45:50,960 --> 00:45:54,760
and we just ripped it for half an hour, man

910
00:45:55,119 --> 00:45:58,119
together a thirty minute set that you know, when I

911
00:45:58,159 --> 00:46:00,400
go busk, now I have I'll play for three hours

912
00:46:00,400 --> 00:46:03,679
at a time. I mean, I know a hundred songs, yeah,

913
00:46:03,960 --> 00:46:05,679
you know, a bunch of covers and a bunch of

914
00:46:05,679 --> 00:46:08,440
my stuff, and I'll weave that together and sort of

915
00:46:08,440 --> 00:46:10,639
pull a set together in the moment based on what's working.

916
00:46:10,719 --> 00:46:12,639
You sort of read the room. But when I do

917
00:46:12,679 --> 00:46:17,280
a club gig, it's thirty minutes of unrestrained mayhem because

918
00:46:17,320 --> 00:46:20,639
I know what works, because I've put that time in

919
00:46:20,679 --> 00:46:23,960
and I've road tested this material, and I can put

920
00:46:24,000 --> 00:46:28,360
together a set list that will it's contourt, that is

921
00:46:28,440 --> 00:46:31,840
just relentless and it rips. And that's what we did

922
00:46:32,199 --> 00:46:35,719
and the hell of a show. Yeah, I really enjoy

923
00:46:35,800 --> 00:46:37,239
those kind of gigs. There's a lot to be said

924
00:46:37,280 --> 00:46:40,920
for those you know busking aside this. You know, coming

925
00:46:40,920 --> 00:46:45,280
in and doing a set like that, that's that powerful

926
00:46:45,280 --> 00:46:46,840
and you know, at the end of it, people were

927
00:46:46,880 --> 00:46:50,760
just cheering. I mean, because I do have that element

928
00:46:50,800 --> 00:46:53,800
of showmanship that you know, I'm i enjoy that. That's

929
00:46:53,840 --> 00:46:56,639
part of being on stage. It's got to be you know,

930
00:46:57,079 --> 00:46:58,880
you have to leave leave it all out there. Man.

931
00:46:59,400 --> 00:47:02,239
You know, these people are paying good money for a show.

932
00:47:02,679 --> 00:47:04,800
I'm gonna make sure they get what they came for. Yeah,

933
00:47:04,840 --> 00:47:08,159
you know yeah, speaking of paying good money, I mean, yeah,

934
00:47:09,400 --> 00:47:12,639
I went to a club the other night. I couldn't

935
00:47:12,840 --> 00:47:15,079
twenty dollars cover charts. Yeah, that was just to get

936
00:47:15,079 --> 00:47:18,039
into the door. Twenty bucks in Portland. Yeah yeah, and

937
00:47:18,079 --> 00:47:20,519
that's it was worth it because there were five bands

938
00:47:20,559 --> 00:47:22,880
on the bill. But that's a lot of dope.

939
00:47:23,000 --> 00:47:24,159
Speaker 1: Sure, you know.

940
00:47:24,679 --> 00:47:28,440
Speaker 5: Yeah where we are yeah, yea these days yeah absolutely, yeah.

941
00:47:28,480 --> 00:47:31,840
I mean there's there's major touring acts that have canceled yeah,

942
00:47:31,880 --> 00:47:34,519
oh yeah, canceled tours because they can't afford to do it,

943
00:47:35,760 --> 00:47:39,320
you know. And and Live Nation has things loted down.

944
00:47:39,239 --> 00:47:42,440
Speaker 3: Their predatory Live Nation I just have.

945
00:47:42,480 --> 00:47:46,800
Speaker 1: Yeah, we've we've talked about that a lot on the show. Yeah.

946
00:47:46,840 --> 00:47:52,119
Speaker 5: Absolutely. I think they're getting sued again. Good they lose, yeah,

947
00:47:52,159 --> 00:47:56,039
no kidding, uh yeah, no, these these monopolies.

948
00:47:56,639 --> 00:47:57,719
Speaker 1: Let's play another track.

949
00:47:57,840 --> 00:48:01,280
Speaker 3: Yeah, yeah, let's play one off. I call the Mayhem Mix,

950
00:48:01,480 --> 00:48:04,280
which is so for this is an interesting story behind

951
00:48:04,320 --> 00:48:06,800
these these So I took the songs around this record

952
00:48:07,039 --> 00:48:08,559
and I gave him to a friend of mine named

953
00:48:08,599 --> 00:48:11,599
Chuck Gonzalez out in San Francisco, who was again another

954
00:48:11,840 --> 00:48:17,360
very talented engineer, And I said, Chuck, go nuts. Yeah,

955
00:48:17,519 --> 00:48:21,320
just play with it, have fun. And his sound and

956
00:48:21,400 --> 00:48:24,000
his approach is very different than Dance who did the

957
00:48:24,039 --> 00:48:27,360
initial mix, So he gave it this sort of psychedelic edge,

958
00:48:27,679 --> 00:48:30,280
and uh, you know, for for example, there's a guy

959
00:48:30,360 --> 00:48:32,880
named New York Mike who's a DJ on w MPG,

960
00:48:33,039 --> 00:48:36,119
and he plays the Psychedelic Show and he didn't like

961
00:48:36,159 --> 00:48:39,639
that Monico mix. But hell out of the of the Mayhem.

962
00:48:39,840 --> 00:48:42,280
Oh okay, so okay, you know it does have a

963
00:48:42,400 --> 00:48:47,480
very different feel. Which track, Well, let's play you know what,

964
00:48:47,599 --> 00:48:50,679
play play this this the Cops, the may the Mayhem

965
00:48:50,719 --> 00:48:53,400
mix the Cops, because that's a it's got a whole

966
00:48:53,400 --> 00:48:54,239
different vibe to it.

967
00:48:55,159 --> 00:48:56,679
Speaker 1: Yeah, you're at you know, it's funny too.

968
00:48:56,679 --> 00:48:58,440
Speaker 5: That's the first one I listened to when I listened

969
00:48:58,480 --> 00:49:00,840
to the tracks that you sent me was was that

970
00:49:01,000 --> 00:49:04,199
mix of yeah, Cops on Acid? Yeah, all right, check

971
00:49:04,239 --> 00:49:07,840
this out. This is the mayn mix of Cops on Acid.

972
00:49:07,960 --> 00:49:10,000
And this is a Plague Dad.

973
00:49:27,960 --> 00:49:29,239
Speaker 2: Dot com today.

974
00:49:32,280 --> 00:49:37,639
Speaker 4: He's listening Rat Dan, We're the rest of the day.

975
00:49:40,880 --> 00:49:42,480
Speaker 2: I wonder what this man.

976
00:49:47,679 --> 00:49:52,199
Speaker 7: Acid Cockbowl n LSD.

977
00:49:55,000 --> 00:50:24,960
Speaker 2: Copone said, comball outst it's a comedy. He was listening

978
00:50:25,159 --> 00:50:26,360
due Great Dead.

979
00:50:28,559 --> 00:50:31,519
Speaker 4: Said hey man, what show was that?

980
00:50:32,880 --> 00:50:33,119
Speaker 2: Said?

981
00:50:33,159 --> 00:50:33,440
Speaker 7: Shoot?

982
00:50:33,599 --> 00:50:35,840
Speaker 1: Answer then shot.

983
00:50:35,679 --> 00:50:36,360
Speaker 4: My dog.

984
00:50:38,320 --> 00:50:52,159
Speaker 2: That comeball the last got comball the listening.

985
00:50:59,559 --> 00:51:03,599
Speaker 5: That is the Mayhem mix of Cops on Acid by

986
00:51:03,840 --> 00:51:07,079
Plague Dad. Mister Frank Gallagher here with us alive in studio.

987
00:51:07,280 --> 00:51:11,079
No dogs were harmed in the in the actual one, yes, yes,

988
00:51:11,400 --> 00:51:15,239
but uh no, that is that is very cool, Frank,

989
00:51:15,280 --> 00:51:17,039
this has been wonderful. Thank you so much for joining

990
00:51:17,119 --> 00:51:17,519
us this morning.

991
00:51:17,679 --> 00:51:17,960
Speaker 1: Pleasure.

992
00:51:18,199 --> 00:51:22,039
Speaker 3: Thank you so much for having me. I really enjoy radio.

993
00:51:23,360 --> 00:51:26,159
It's a medium that I keep turning back to because,

994
00:51:27,239 --> 00:51:31,559
particularly community stations and college stations. I like to hear

995
00:51:33,000 --> 00:51:35,559
what the DJs you have to say and what they

996
00:51:35,719 --> 00:51:38,280
what they play. I mean, the algorithm is fine, but

997
00:51:38,400 --> 00:51:41,800
I I have heard so much and been turned on

998
00:51:41,920 --> 00:51:45,559
to so much cool new music by listening to college

999
00:51:45,599 --> 00:51:46,920
DJs or community station.

1000
00:51:47,760 --> 00:51:54,159
Speaker 5: That I'll mention this briefly. My uh my, my father

1001
00:51:54,239 --> 00:51:56,119
who listens to the show hi, dad, if you're listening.

1002
00:51:56,519 --> 00:51:58,320
So he he lives on the sea coast here in

1003
00:51:58,320 --> 00:52:00,800
New Hampshire, and he's an a seventies And I only

1004
00:52:00,880 --> 00:52:03,159
mentioned that because you know, most people geez, I don't know.

1005
00:52:03,199 --> 00:52:04,920
By the time they get to be thirty or forty,

1006
00:52:05,000 --> 00:52:07,320
they kind of just say, Okay, I've heard all the

1007
00:52:07,400 --> 00:52:09,280
music I'm ever interested in, and I'm not going to

1008
00:52:09,440 --> 00:52:11,360
like anything that I anything new that I hear from

1009
00:52:11,400 --> 00:52:12,039
this point forward.

1010
00:52:12,159 --> 00:52:12,280
Speaker 1: Right.

1011
00:52:12,880 --> 00:52:15,559
Speaker 5: My dad is the opposite of that. He still loves

1012
00:52:16,039 --> 00:52:19,159
new music. He's always been like that. Like you'd never like,

1013
00:52:19,199 --> 00:52:20,599
if you got into a car with my dad, you're

1014
00:52:20,599 --> 00:52:22,800
not gonna hear the oldiest station coming out of the stereo,

1015
00:52:22,920 --> 00:52:25,239
right right. And he so he lives on the seacoast

1016
00:52:25,280 --> 00:52:28,559
and he loves listening to wunh oh fantastic because he

1017
00:52:28,760 --> 00:52:31,199
loves hearing new music, and he loves college radio.

1018
00:52:31,280 --> 00:52:33,719
Speaker 3: Yep, yep, no it's great, Yeah it really is. And

1019
00:52:34,039 --> 00:52:37,400
you know to that, And yes, I do this, plagu dad.

1020
00:52:37,440 --> 00:52:39,920
But I also run a little blog in town called

1021
00:52:39,960 --> 00:52:43,960
that Portland Sound Oh really, where I try to bring

1022
00:52:44,039 --> 00:52:47,159
some attention to bands that I like. Yeah, so I'll

1023
00:52:47,239 --> 00:52:49,800
just write up little pieces about the bands that I like,

1024
00:52:49,840 --> 00:52:52,239
and I'll put that out there. Oh and you know,

1025
00:52:52,440 --> 00:52:53,760
I was a reporter for a long time, so.

1026
00:52:53,800 --> 00:52:55,639
Speaker 4: I write, Oh, I totally want to read this.

1027
00:52:56,000 --> 00:53:00,119
Speaker 3: Yeah, yeah, it's I update it infrequently. I'm thinking, I

1028
00:53:00,320 --> 00:53:02,639
really need to start making that more of a regular thing.

1029
00:53:03,039 --> 00:53:05,239
And I'm actually toying with the idea of making it

1030
00:53:05,280 --> 00:53:07,880
a print thing. You know, really remember the old school

1031
00:53:08,000 --> 00:53:10,880
with zines. I'm gonna make this into a ze.

1032
00:53:11,079 --> 00:53:13,519
Speaker 1: We have here, we have a paper jam magazine. Yeah,

1033
00:53:13,559 --> 00:53:14,960
we've had them on the show. Yeah.

1034
00:53:15,039 --> 00:53:17,199
Speaker 3: Yeah, I'm gonna do that with this. There is a

1035
00:53:17,280 --> 00:53:19,360
market for it, and I'm gonna you know, I've started,

1036
00:53:19,360 --> 00:53:22,079
I've costed it out. I'm gonna rent up two hundred

1037
00:53:22,079 --> 00:53:25,800
and fifty copies, probably twenty four pages, and I'm going

1038
00:53:25,920 --> 00:53:29,360
to put together a compilation CD and just glue it

1039
00:53:29,440 --> 00:53:33,199
into the back page awesome, and just drop it around town. Yeah,

1040
00:53:33,320 --> 00:53:35,440
you know, so theyough like, you'll find ten copies in

1041
00:53:35,480 --> 00:53:38,880
a cafe, You'll find ten copies of Geno's, You'll find

1042
00:53:38,920 --> 00:53:41,519
ten copies of Hi Fi in in Portland, which is

1043
00:53:41,559 --> 00:53:43,920
one of my other favorite venues. That place is fantastic.

1044
00:53:43,960 --> 00:53:44,480
Speaker 1: Oh I love it.

1045
00:53:44,639 --> 00:53:47,480
Speaker 3: That's so yeah, I'm gonna start doing that as well.

1046
00:53:47,639 --> 00:53:51,079
Speaker 5: Fantastic, fantastic, And of course the website is plagued bleg

1047
00:53:51,159 --> 00:53:52,159
dot dad, bleg.

1048
00:53:52,000 --> 00:53:54,360
Speaker 3: Dot Dad dot Dad. And I'm on band camp as

1049
00:53:54,400 --> 00:53:56,320
well if you want, you know, and you can buy

1050
00:53:56,400 --> 00:53:58,079
the records there. I have other merch I have T

1051
00:53:58,280 --> 00:54:01,159
shirts and bandanas. Lot of stuff is sold out, which

1052
00:54:01,159 --> 00:54:03,599
is crazy. I gotta I gotta up my mid.

1053
00:54:05,679 --> 00:54:06,000
Speaker 1: Totally.

1054
00:54:07,320 --> 00:54:09,039
Speaker 4: I love your music because it makes me smile.

1055
00:54:09,480 --> 00:54:11,960
Speaker 3: Well, that's great, fantastic, that's one of the best things

1056
00:54:12,000 --> 00:54:13,400
that anybody has ever said to me.

1057
00:54:13,559 --> 00:54:16,599
Speaker 5: And and for those watching online too, let me hold

1058
00:54:16,639 --> 00:54:19,679
this up again, the seven inch final artwork.

1059
00:54:19,960 --> 00:54:22,000
Speaker 1: You can see that. Yeah, the artwork is very very.

1060
00:54:22,119 --> 00:54:24,480
Speaker 3: That's like I said, Paul court John is the artist there.

1061
00:54:24,800 --> 00:54:26,880
You like his stuff. He's got He's just got a

1062
00:54:26,960 --> 00:54:28,320
crazy amount of independent comics.

1063
00:54:29,440 --> 00:54:31,239
Speaker 1: And you're playing You've got shows this week?

1064
00:54:31,480 --> 00:54:34,239
Speaker 3: Yeah, yeah, we're playing. The next one is in Ellsworth.

1065
00:54:34,559 --> 00:54:36,679
So there's a new place in Ellsworth called the Black

1066
00:54:37,079 --> 00:54:40,280
Moon Public House. And this is my new favorite place

1067
00:54:40,360 --> 00:54:42,920
in Maine because it is a pub and it's a

1068
00:54:43,000 --> 00:54:47,239
record store together. You can like go in and and

1069
00:54:47,400 --> 00:54:50,159
they're having live shows there. So I was there, you know,

1070
00:54:50,320 --> 00:54:52,800
back earlier this summer and at the place a soft opening,

1071
00:54:52,880 --> 00:54:55,639
and I walked in and I saw that they looked around.

1072
00:54:55,719 --> 00:54:59,920
I found Steve, Steve Pierce, the Empressario, and I said, Hey,

1073
00:55:00,039 --> 00:55:03,920
do you ever do any in stores here? He's like, yeah, sure.

1074
00:55:04,559 --> 00:55:07,760
So I just started playing there, yeah, yes, And so

1075
00:55:07,920 --> 00:55:10,360
I've played there a couple three times now. But now

1076
00:55:10,559 --> 00:55:12,920
he trusts me a little bit. I don't know, you know,

1077
00:55:13,039 --> 00:55:18,079
whether better or for worse. So this weekend, Saturday, November second,

1078
00:55:18,079 --> 00:55:20,079
I'm bringing up a couple of friends of mine from

1079
00:55:20,119 --> 00:55:23,199
Portland and we're gonna just Portland comes to Elsworth, so

1080
00:55:23,280 --> 00:55:27,199
Plague Dad will be there crying. Caleb is gonna be there,

1081
00:55:27,719 --> 00:55:31,840
and a gentleman named Fine Pioneer okay, and he's got

1082
00:55:31,920 --> 00:55:34,400
a new single out that's just amazing as well. It's

1083
00:55:34,400 --> 00:55:36,800
called both Sides of Sleepy and it's a fantastic song.

1084
00:55:37,480 --> 00:55:39,360
So we're gonna take that show on the road. We're

1085
00:55:39,400 --> 00:55:41,039
gonna go up to Ellsworth on the second and we're

1086
00:55:41,039 --> 00:55:41,559
gonna play that.

1087
00:55:42,119 --> 00:55:42,440
Speaker 1: Okay.

1088
00:55:42,519 --> 00:55:45,480
Speaker 3: And there's a couple in uh in skou Hegan. There's

1089
00:55:45,519 --> 00:55:48,760
some there's there's some young people that are organizing shows

1090
00:55:48,840 --> 00:55:51,519
there now, house parties and other venues so that they

1091
00:55:51,679 --> 00:55:53,000
they reached out to me and asked me if I

1092
00:55:53,079 --> 00:55:54,679
come up play a couple there. I said, of course,

1093
00:55:54,719 --> 00:55:58,400
I will, absolutely. And then the spring Point Tavern in

1094
00:55:58,639 --> 00:56:02,039
South Portland, Okay, is right across the street from uh

1095
00:56:02,280 --> 00:56:05,960
SMCC from Southern Main Community College. They're doing live music

1096
00:56:06,039 --> 00:56:09,559
now and Cryon Caleb got a show there and he

1097
00:56:09,639 --> 00:56:11,159
asked me if I would play that show with him.

1098
00:56:11,320 --> 00:56:13,559
He said, oh, yeah, of course, yeah, So we're playing

1099
00:56:13,639 --> 00:56:16,280
there on I want to say the ninth. These are

1100
00:56:16,320 --> 00:56:19,119
all on my website, plague dot Dad. I put every show,

1101
00:56:19,400 --> 00:56:21,119
every this is on This is on there, you know,

1102
00:56:21,559 --> 00:56:23,199
and there's a mailing list if you want to stay

1103
00:56:23,280 --> 00:56:25,840
up with things. I promise I won't spam yet, but uh,

1104
00:56:26,280 --> 00:56:28,760
you know, there's a lot of really cool stuff going on.

1105
00:56:29,000 --> 00:56:34,679
Speaker 5: And drop a line outstanding. Well, thank you again, plague Dad.

1106
00:56:34,760 --> 00:56:35,559
This has been amazing.

1107
00:56:35,920 --> 00:56:37,840
Speaker 1: What should we close with? I'll let you pick.

1108
00:56:37,960 --> 00:56:40,199
Speaker 3: Oh, let's play, let's play the one tune we haven't

1109
00:56:40,199 --> 00:56:42,519
played yet, which is what ran us off right. There's

1110
00:56:42,559 --> 00:56:44,719
actually a video for this on YouTube as well.

1111
00:56:44,920 --> 00:56:46,440
Speaker 1: Ran us off. I don't see that.

1112
00:56:46,519 --> 00:56:48,440
Speaker 3: One that's the I don't have the record for me.

1113
00:56:48,440 --> 00:56:50,960
I can't remember. I've got I've gotten there just as well,

1114
00:56:51,280 --> 00:56:53,519
just as well as No, that's not that's not the right.

1115
00:56:54,039 --> 00:56:55,199
Speaker 1: Oh that's one of the ones you sent.

1116
00:56:55,519 --> 00:56:57,000
Speaker 3: Yeah, yeah, you know what, play that. Go ahead and

1117
00:56:57,039 --> 00:56:58,280
play that. That's a great little tune.

1118
00:56:58,280 --> 00:57:02,880
Speaker 1: Okay, yeah, I like that one. Yeah, it's we'll give okay, yeah,

1119
00:57:02,920 --> 00:57:03,800
we'll give this a spin.

1120
00:57:03,960 --> 00:57:08,079
Speaker 5: And then if you are listening live on Saturday, of course,

1121
00:57:08,320 --> 00:57:10,039
coming up in the second hour, in just a couple

1122
00:57:10,079 --> 00:57:13,639
of minutes, we've got October Sun's Dave Wally is here

1123
00:57:13,679 --> 00:57:15,920
in the building, and I think he's got how many

1124
00:57:16,360 --> 00:57:17,880
is it just Dave.

1125
00:57:17,760 --> 00:57:19,719
Speaker 1: And Chris or is people?

1126
00:57:19,960 --> 00:57:20,239
Speaker 3: Really?

1127
00:57:20,719 --> 00:57:22,480
Speaker 1: Okay? All right, very good?

1128
00:57:22,920 --> 00:57:25,079
Speaker 5: And uh these are these are some some old old

1129
00:57:25,360 --> 00:57:28,960
and some old and dear friends of mine. So I'm

1130
00:57:29,000 --> 00:57:30,599
really looking forward to that. And then in the third

1131
00:57:30,599 --> 00:57:33,400
hour today we have Rebecca Turmel so stick around. But

1132
00:57:34,079 --> 00:57:35,239
here it is plague Dad.

1133
00:57:35,440 --> 00:57:42,440
Speaker 1: This is just as well, and.

1134
00:57:42,480 --> 00:57:57,000
Speaker 2: It's just as well either way, the one of us say,

1135
00:58:02,239 --> 00:58:03,840
and it's just as well.

1136
00:58:07,239 --> 00:58:10,519
Speaker 3: I always thought that me would have a celt another day.

1137
00:58:13,920 --> 00:58:15,119
Speaker 2: But I get drinking to you.

1138
00:58:15,559 --> 00:58:37,119
Speaker 7: Marie Fades away m seeing bad and it's just as well.

1139
00:58:40,559 --> 00:58:43,840
Speaker 2: He would have been it up. And Audi's a ways.

1140
00:58:47,199 --> 00:58:48,719
Speaker 3: So I get drinking to you'll, Ma.

1141
00:58:48,920 --> 00:59:01,039
Speaker 2: Marie fades away and it's just as well. I always

1142
00:59:01,079 --> 00:59:03,760
thought that you would have a Sealesan us A days

1143
00:59:07,360 --> 00:59:10,280
Speaker 7: Now there's nothing that for either one of us to say,

1144
00:59:15,719 --> 00:59:56,119
exit bad, and it's just as well.