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Speaker 1: Thirty something years now, going up in smoke, twenty thousand

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days behind. There's just a couple more goal and it's alright,

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it's alright.

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Speaker 2: Gotta have a little faith.

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Speaker 3: Could have seen it coming somewhere down the line, buried

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in some double helics, some underneath ourselves a bat But

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it's alright, it's alright.

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Speaker 2: Everything is in its leg.

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Speaker 1: Seems so clear to me.

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Speaker 2: Could have changed?

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Speaker 1: It seems so mad me. Nothing complain, arts are feeling heavy,

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bodies get week, We will waste away together, fade into

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that sweet Really, it's.

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Speaker 2: All right, it's all right. You gotta have a little speak.

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Seems so clear to me.

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Speaker 3: Nothing could have changed, so wed me.

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Speaker 2: Nothing could plain?

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Speaker 1: Who's us on the mountain all upon the road I've

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been reaching down to holding me up and bear his

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heavy though.

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Speaker 2: It's all right, it's all right. Everything is in its place.

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It's alright, it's all right. You gotta have a little

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baby same so jeus me cha seems so meplace. Hmmm.

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Speaker 4: I really like that a lot that it's called a

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

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here with us alive in studio, and we're gonna talk

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

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

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We are live from the studios of w m n

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

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and of course you can stream the show at Matt

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

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twenty twenty five. Jenny is here at the news table

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and we have Ian Gallipo here with us. Welcome in. Oh,

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I can't hear you, and I need to figure out why.

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Actually that's strange. I can switch that Mike should be on. Yeah,

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can you bounce over to that that chair please, I

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don't know why that's not working.

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Speaker 5: That's weird.

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Speaker 4: I'm not getting anything out of it. Okay, let's we'll

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try We'll try that one. Oh, I can hear you

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bet Yeah, yeah, awesome, excellently, you sound great. Yeah, that's

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

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

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so welcome.

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Speaker 1: Uh.

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Speaker 4: Your music has actually been featured on the show before.

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By the way, we should say, because you of course

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are in the band Modern Fools.

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Speaker 5: I am in the band Modern Fools.

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Speaker 4: You were not here for the for the interview, but

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

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gonna just that just that camera there too for people

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

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I love your I love I love Modern Fools, but

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I love your solo stuff too. That is such a

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great track. A couple more to go really really like that.

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Where did you record that?

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Speaker 5: It's entirely recorded at home? Oh no kidding, Yeah, yeah,

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I've got a home studio setup. Did the entire album

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in my in my studio room.

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Speaker 4: Oh that's incredible. It sounds like it was done in

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

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

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

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we were as we were in the previous segment, and

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you know, we live in a time where you can

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really get an amazing recording out of a home studio.

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

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was go to a studio and pay a lot of money,

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or if you were gonna stay at home. I don't

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know if you've ever seen one of those little task

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scam of course?

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Speaker 5: Is that what you started on yet?

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Speaker 4: Okay, okay, So now though, I mean it's it's incredible

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what you can do, and.

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Speaker 5: Oh it's amazing. Yeah, I mean all of the DAW's

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I work in logic. But you know your home studio

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set up, you can, uh, they were prof albums. Rights.

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

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know that. Really, Church is a home recording.

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Speaker 4: Oh, I didn't. I had no idea. I did not

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

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Speaker 5: Are you?

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Speaker 4: Are you playing everything?

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Speaker 5: And I play everything?

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Speaker 4: Oh that's incredible.

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Speaker 5: Drums, keyboards, guitars, bass.

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Speaker 4: Yeah, Oh that's fantastic.

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Speaker 5: Good for you, Good for you.

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Speaker 4: And that makes it easier too, in the sense that

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

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

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you get to create your vision of what you wanted

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to sound like without anybody kind of messing it up.

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Speaker 5: Right, Yeah, oh for sure. Yeah, it's it's it's an

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interesting process, right, doing it all yourself.

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Speaker 6: It was.

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Speaker 5: I had a release show this past weekend.

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Speaker 6: Right.

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Speaker 5: The album came out of the twenty second and I

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had a release show with a full band, and it

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was so cool to hear these songs come to life,

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

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played by a five piece band with me, it was

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was pretty special. Yeah.

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Speaker 4: When when that happens, though? Is it because obviously it's

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great to hear them come alive, But is there any

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part of you that is nervous about what if they

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

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able to just let that go and just enjoy because

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in a sense, who is kind of an adventure?

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Speaker 7: Right? Who?

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Speaker 4: How are these going to sound with other musicians playing

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them with me?

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Speaker 5: It's certainly an adventure. Yeah, And I trusted the musicians

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I was working with.

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Speaker 4: Yeah.

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Speaker 5: I picked these five people specifically because I trust their

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taste and their vision. Whether they're going to play exactly

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the part that I wrote, whatever they come up with

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modification of that, he's going to be interesting.

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Speaker 4: Yeah.

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Speaker 5: Good. I didn't just find guys on Craigslist to play

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the songs with, like that would be nerve wrecking.

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Speaker 4: Yeah, that would be, no doubt, no doubt, any members

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of Modern Fools who played them with you.

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Speaker 5: Yeah, one member of Modern Fools came, the guitarist John

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

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

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He specifically did not want the Ian Gallipo and the

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

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the band to maybe one member.

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Speaker 4: No, that makes sense, that makes sense. Who else were

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other people that we would know from other bands who

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played with.

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Speaker 2: You that for that show?

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Speaker 5: Or you might know one name Ethan McBrien. He's the

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front man of the band Party of the Sun.

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Speaker 4: Okay. Yeah, I don't think we've ever had Party of

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the Sun on the show, but I am familiar with

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the band.

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Speaker 5: Yeah, yeah, okay, he played bass. Oh very cool, great

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bass player. Yeah for a band that doesn't have a

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bass player. Yeah, he's a fantastic bass player. Oh that's awesome.

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Speaker 4: So what in terms of playing live your solo material,

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what's what's the plan going forward? Do you plan to

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do that again or or are you planning to play

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out with your solo I mean, obviously Modern Fools keeps

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you kind of busy too.

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Speaker 5: Modern Fools keeps me plenty busy. Yeah, I play all

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of these songs as a not all of the ones

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

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this whole album is different for me. I composed all

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

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instrument that I normally play. Have been a guitarist for

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

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

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adapted most of these songs to work on guitar, which

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I'm excited about sharing them in that way.

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Speaker 8: Yeah.

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Speaker 5: I don't know how much band performance I'm going to do,

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

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

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

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

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

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something I want to pursue, like we need to be

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

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too much.

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Speaker 4: So your solo material, you're comfortable just you and a guitar,

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I assume, or you or do you ever bring a keyboard?

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Speaker 5: I never bring a keyboard. I anything that I've written

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

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it on guitar or not play it at all.

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Speaker 4: Yeah. Are there songs that you've had to say this

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

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going to play this one, or do you ever run

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into that?

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Speaker 5: Or Yeah, there are a couple on this that don't work.

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Speaker 4: Yeah, don't work in terms of does the vibe just change,

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or yeah.

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Speaker 5: The vibe is too different, or I'm just not technical

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enough to do exactly like I can do something close usually, Yeah,

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but some of it's really dependent on the bounce of

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a piano. Yeah, doing the same chug on a guitar

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sounds right right different? That makes sense, Yeah, that makes sense. Now,

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what about the so on the album? What about the drums?

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Speaker 4: Are those live.

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Speaker 5: Drums or are they programmed or it's all programmed or

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you know, it's all sampled. A lot of it I've

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played on a keyboard, Yeah, a drummer, and then I've

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got to write an electronic drum set that plugs in

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for me as well.

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Speaker 4: Oh okay, great. Yeah that's something that's changed a lot

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too over the years, technologically, the advances with that, because

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I like I remember I remember being a kid and

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having a keyboard with drum sounds on it, but they

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they sounded so fake.

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Speaker 5: Oh, they sound so fake.

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Speaker 4: And then you know, and there were also these programmable,

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these standalone programmable drum machines that some of them like

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you could get a realistic sounding The problem with those,

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again this is going back many years, but the problem

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

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but the toms would always sound terrible and the symbols

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

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remarkable what you can do.

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Speaker 5: Oh, it's unbelievable. What maybe I mean? Uh, the guys

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in my band were like, where'd you record these drums?

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Speaker 9: Yeah?

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Speaker 5: Like, no, no, there are a couple of obviously electronic

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pieces in there, but the ones that are acoustic are

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well sampled. Yeah, they've got that full dynamic range and

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you really it's hard to tell unless you know, not

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real drums.

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Speaker 4: Yeah, oh that's fantastic. Yeah, it's uh, that's a great compliment,

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

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

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How is your is your approach to songwriting? Different as

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a solo artist versus with Modern Fools or because I

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

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self written or do you collaborate with other writers?

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Speaker 5: Yeah, great question. I love collaborating with people. Yeah, everything

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on this record I wrote, and most of my co

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

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

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

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that we that I play, Yeah, soul artists. As far

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

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

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

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

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

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I are working towards that.

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Speaker 7: Yeah.

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Speaker 5: No, that's very cool. That's very cool.

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Speaker 4: How many, so, how many songs have you recorded? Just

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as as Ian Gallipo, Because from what I looked at

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on band camp, it looks like you've you've got quite

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a bit of solo material.

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Speaker 5: There's a decent amount of solo material I think there's

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fifty or so on on.

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Speaker 4: Oh, that's even more than I realized. Wow, oh that's

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quite a bit.

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Speaker 5: There's two full albums, a couple of epe's, a bunch

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of singles. There's this a good volume of of solo material.

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Speaker 4: Yeah, when did you How long have you been writing

249
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and recording solo material, because that's a lot of material.

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

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Speaker 5: That is the oldest stuff that's on any of the

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

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

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are only on my band camp from before that first

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

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I was in a band called My Honest Thieves for

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a few years. Yeah. We released an album in twenty fourteen,

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which is still up on my band camp, kind of

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a rock and roll thing.

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Speaker 4: Oh no kidding, Okay, cool. I think I've heard of

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

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

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

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

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Modern Fools. That has that that that hasn't been as

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

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that's no.

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Speaker 5: It has not. I joined up with Modern Fools. It's

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

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And I started playing bass with those guys. And I

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mean I've been playing with various members of Modern Fools

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for a long time. Yeah, that's always the you know,

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the rotating cast of any of any music community, right,

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you know, I'm over and keen, and so there's a

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degree of I've played with everybody, oh there to some degree. Yeah,

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but yeah, I've been playing with the drummer of Modern

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Fools since high school. Cool together with John the guitarist

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for twelve years now. He was in Honest Thieves. Oh okay,

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So yeah, just a rotating cast, but three and a

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half years or so with Modern Fools, playing bass and

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singing the harmonies.

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Speaker 4: Excellent, excellent. The songs that we're playing today are these

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all from the latest release.

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Speaker 5: Everything is from the latest release.

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Speaker 4: And is that a I forgot? How is that a

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full length or an EP?

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Speaker 5: Full length?

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Speaker 4: Its length? Okay? Well, was there anything that went into

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any anything specific that went into that decision, you know,

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because obviously, again we live in a time where you've

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got so many different options in terms of how you

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release music. Some people just release singles, some people decide

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to do an EP, some people decide to do a

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full album. Was there was there any particular reason you

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decided to do a full album. Do these songs have

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a sort of cohesive connection to them.

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Speaker 5: Or they do each other?

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Speaker 4: Yeah.

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Speaker 5: It started out I thought it was going to be

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

301
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songs out as I as I went through, and then

302
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I started going and I'm like, oh, I got nine songs,

303
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and maybe I could write there's one instrumental piece that's

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again piano bassed. It was like, ten is a nice

305
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even number. It feels like a full album. Yeah, these

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all are are cohesive in that again, they're the subset

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of songs that I've ever written on piano, Yeah, which

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sort of unique. And as I dove into them and

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work done them, I found that that there's just a

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lot of nostalgia built into this set of songs. For

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whatever reason, Writing a piano brings that out of me.

312
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Being a dad brought that out of me a bit.

313
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I've got two daughters at home. Yeah, and I was

314
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never a nostalgic person, and I have kids, and now

315
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I'm very aware of moments passing, right, it gives you

316
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that a different perspective. So these songs are all all

317
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sort of looking backward in some degree. Some of them

318
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are stories that are true for my life, some of

319
00:16:32,279 --> 00:16:34,600
them are borrowed from other people. Right. A couple More

320
00:16:34,639 --> 00:16:39,799
to Go is about this older friend of mine watching

321
00:16:40,360 --> 00:16:44,080
her fifty year marriage not fall apart, but watching her

322
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partner pass and doing it with more dignity than I've

323
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ever seen anyone do that. So anyway, it's not all sadness,

324
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but it's all there's kind of this rose colored glasses

325
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look backwards that ties these songs together. Faded Pictures is

326
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the title track, which isn't one that will listen to today,

327
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but it kind of prompted the idea for the album

328
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art of all these pictures of just my photo album, yeah,

329
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my family photo albums mashed together, and so yeah, it's

330
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a it's a look back, it's reflective, kind of just

331
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escaping from some of the turmoil of the last couple

332
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of years.

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Speaker 4: Taking backwards did you. Did you create the cover art yourself?

334
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I mean, obviously that's your your photo albums, But.

335
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Speaker 5: Did you did oh very cool, too much, too much

336
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the gallipo. I did every single piece of it. No,

337
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I think that's fantastic. I think that's that's excellent. We

338
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should play another track. What should we play next? We

339
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just played a couple more to go to open the segment,

340
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but I'd love to play another one. Yeah, let's let's

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do only Ever Always only over a second track on

342
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the album what?

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Speaker 4: What should we know about this song?

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Speaker 2: Any?

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Speaker 4: Any?

346
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Speaker 5: Any song is what Let's see. I wrote this. It

347
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was inspired by a book that I was reading and

348
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it just had this really beautiful love story that sort

349
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of creeps up on you. The second Chance that I

350
00:18:07,160 --> 00:18:09,640
thought was really beautiful, And part of this song actually

351
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came from a prompt. I was in a songwriter's group

352
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and we were doing weekly prompts last April, and because

353
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everything had started to turn green, the prompt was used

354
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the word green somewhere in your song, and it's snuck

355
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in there in the chorus. This was the song written

356
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for that.

357
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Speaker 4: I just have to say though, before before we play

358
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the song. This is one of those weird synchronicities. Jenny's

359
00:18:29,000 --> 00:18:32,680
heard me talk about this. So this concept of writing

360
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prompts had never really come upon the show before. But

361
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last night I was on because there's a show here

362
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that Arizon Friday nights at six pm called Granite State

363
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of Mind.

364
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Speaker 5: You might know.

365
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Speaker 4: Do you know Rob rob Azevito. I met Rob yet okay, yeah,

366
00:18:46,839 --> 00:18:49,440
and he has Pembroke City limits and everything. But so

367
00:18:49,680 --> 00:18:51,519
I was here for that to help Rob set up

368
00:18:51,640 --> 00:18:54,720
Mike's for a sound because Katie Dobbins, yeah, came in

369
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and played live and the subject of writing prompts came up.

370
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She was talking about using pumps, you know, to help

371
00:19:01,759 --> 00:19:04,000
give her ideas for songs, and I've never really heard

372
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anyone talk about it that way before. And and then

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you you mentioned prompts. It's funny. Those moments are so

374
00:19:10,880 --> 00:19:13,680
interesting to me. Yeah, yeah, yeah, but uh, all right,

375
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so let's give this a spin. If you are just

376
00:19:16,319 --> 00:19:19,240
joining us, Ian Gallipo is here with us in studio,

377
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and uh, this is great. This is called only Ever Always.

378
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Speaker 1: I was fucking gently settled in the silence of frozen dark,

379
00:19:38,519 --> 00:19:44,200
an empty hibernation. You were there to catch me, drawn

380
00:19:44,279 --> 00:19:49,799
in by the wildness of broken heart, oh kind of patience.

381
00:19:50,880 --> 00:19:53,400
Speaker 2: In your hands, my world.

382
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Speaker 4: Scream the world.

383
00:20:00,039 --> 00:20:06,079
Speaker 10: It's on the branches over the light, inside Glassy, it's

384
00:20:06,240 --> 00:20:11,079
capturing the light stall in Second Chances at the light,

385
00:20:11,359 --> 00:20:11,880
and you're right.

386
00:20:12,359 --> 00:20:17,559
Speaker 2: It's not wrong right, you're on wrong or right. There's

387
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only ever.

388
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Speaker 11: Always, And.

389
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Speaker 1: Running from the hardy certain in the distance we had

390
00:20:35,319 --> 00:20:40,559
put behind the best could only change suns. Love was

391
00:20:40,720 --> 00:20:45,480
like an earthquake, overwhelming and escapable and violent.

392
00:20:46,440 --> 00:20:53,160
Speaker 2: So we let it take guns in the worlds onfoor light.

393
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Speaker 12: Every new screen, all the worldlife, But it's on the

394
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branches over n is come back, see.

395
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Speaker 2: Capturing Light stole.

396
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Speaker 13: In Second Chances and the night, and you're right. There's

397
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no wrong, wrong, right, only ever always.

398
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Speaker 4: I love the way that ends. I didn't even want

399
00:21:45,359 --> 00:21:47,400
to talk over the end of it. That's so cool.

400
00:21:47,680 --> 00:21:50,319
That's Ian Gallipo. Only ever always is the name of

401
00:21:50,359 --> 00:21:54,480
the track. That's really nice. I love the I love

402
00:21:54,559 --> 00:21:58,400
the choruses on these and the you know the obviously

403
00:21:58,839 --> 00:22:02,039
you know you're how many? How many layers of vocals

404
00:22:02,079 --> 00:22:04,799
are on like that a song? I'm such a recording nerd,

405
00:22:04,880 --> 00:22:08,240
so I asked these nerd weird great weird questions. Probably

406
00:22:08,240 --> 00:22:10,759
nobody else care how many layers of vocals, but I'm

407
00:22:10,839 --> 00:22:13,000
just curious because it just sounds so good.

408
00:22:13,559 --> 00:22:15,920
Speaker 5: Thank you so much. No, I love the recording nerd

409
00:22:16,200 --> 00:22:22,279
conversations here. That song has got I think nine layers

410
00:22:22,319 --> 00:22:25,680
of vocal. Okay, so it's it's like a four part harmony.

411
00:22:26,440 --> 00:22:29,319
My wife is singing the highest right, the female voice,

412
00:22:29,759 --> 00:22:32,720
she's got two parts, and then I'm doubling the lead

413
00:22:32,839 --> 00:22:36,839
vocal and singing two underneath it. Okay, So it's like

414
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a five part harmony with nine total voices layered in.

415
00:22:40,160 --> 00:22:43,480
Speaker 4: Oh nice, Yeah, it sounds was that hard to get

416
00:22:43,559 --> 00:22:46,200
that right, like like the way you wanted it? Because

417
00:22:46,240 --> 00:22:49,319
that's kind of complex working all that out, or maybe

418
00:22:49,359 --> 00:22:49,599
it's not.

419
00:22:49,839 --> 00:22:51,119
Speaker 5: Maybe I know.

420
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Speaker 4: Sometimes it can be kind of instinctive when you're working

421
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out harmonies, but I.

422
00:22:55,759 --> 00:22:58,920
Speaker 5: Working out harmonies is like my favorite nerd thing to do. Yeah, oh,

423
00:22:59,039 --> 00:23:04,200
I love it. So it's a little tricky, but it's

424
00:23:04,200 --> 00:23:06,640
a lot of fun. Like I do all most of

425
00:23:06,640 --> 00:23:09,480
the harmony arrangements for modern fools as well. Right when

426
00:23:09,519 --> 00:23:12,480
I was singing with with Josh and when we record

427
00:23:12,559 --> 00:23:16,519
together with two voices, it's always interesting like, what what

428
00:23:17,000 --> 00:23:20,359
can we do that isn't just tight thirds right? And

429
00:23:20,559 --> 00:23:23,640
so I know this is like music theory nerd stuff,

430
00:23:23,720 --> 00:23:26,400
but yeah, it's complicated, but it's it's fun.

431
00:23:26,599 --> 00:23:26,839
Speaker 4: Yeah.

432
00:23:27,319 --> 00:23:30,279
Speaker 5: I love when I am recording and I have license

433
00:23:30,359 --> 00:23:32,359
to like, oh, I can just fill this course up

434
00:23:32,480 --> 00:23:34,400
with a five part gigantic thing.

435
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Speaker 2: Ye.

436
00:23:35,799 --> 00:23:38,119
Speaker 4: How long did it take to record the to record

437
00:23:38,200 --> 00:23:38,559
the album?

438
00:23:39,200 --> 00:23:44,880
Speaker 5: The album was over the course of maybe eight months. Again,

439
00:23:45,039 --> 00:23:49,799
all done at home, and it's it's the challenge in recording.

440
00:23:49,839 --> 00:23:52,359
It is is always just finding the time, right. I

441
00:23:52,480 --> 00:23:55,160
work full time and I've got children, so it's loud

442
00:23:55,200 --> 00:23:57,480
in the house for most of the hours.

443
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Speaker 12: Of the day.

444
00:24:00,039 --> 00:24:01,880
Speaker 4: Did you do all the did you do the mastering

445
00:24:01,920 --> 00:24:02,599
to yourself?

446
00:24:02,720 --> 00:24:05,920
Speaker 5: Or did you say I had it mastered by a

447
00:24:06,000 --> 00:24:10,440
guy named Jim Bergson who's over in Boston area. Okay, okay, yeah,

448
00:24:10,440 --> 00:24:12,480
I record it. I did all of the mixing. It

449
00:24:12,599 --> 00:24:13,599
was mastered separately.

450
00:24:13,759 --> 00:24:16,480
Speaker 4: Excellent. Now, why Jim Jim Bergson?

451
00:24:16,559 --> 00:24:17,680
Speaker 5: Is that his name? That's his name?

452
00:24:18,359 --> 00:24:20,079
Speaker 4: How did how did you choose him? Because You've got

453
00:24:20,119 --> 00:24:22,559
a lot of options. What what led you to to

454
00:24:22,599 --> 00:24:23,079
work with him?

455
00:24:23,160 --> 00:24:25,640
Speaker 5: There are so many options. He and I had connected

456
00:24:25,960 --> 00:24:30,079
via Instagram maybe last early last year, and he had

457
00:24:30,119 --> 00:24:32,039
reached out a handful of times, just like, Hey, if

458
00:24:32,039 --> 00:24:34,920
you've got any projects, just keep me in touch. I

459
00:24:35,000 --> 00:24:36,880
really like your writing. I'd love to work with you.

460
00:24:37,200 --> 00:24:40,160
And I've worked with a handful of other mastery engineers

461
00:24:40,160 --> 00:24:41,839
who all did a great job. But I wanted to

462
00:24:41,880 --> 00:24:44,359
give Jim a swing. He's a good guy, and uh

463
00:24:45,640 --> 00:24:47,079
did he did a great job? Did a great job,

464
00:24:47,160 --> 00:24:49,400
knocked it out of the park. I would say, yeah, absolutely,

465
00:24:49,799 --> 00:24:53,480
Oh that's very cool, that's very cool. Now what is

466
00:24:53,559 --> 00:24:57,559
your Obviously you're always writing, right, so I'm curious, Uh

467
00:24:58,000 --> 00:25:00,839
and this, this hasn't been out that long? Right? Then

468
00:25:01,119 --> 00:25:03,000
week a week's Saturday?

469
00:25:03,200 --> 00:25:07,720
Speaker 4: What's that new? Okay? Jeez, So do you plan to

470
00:25:08,440 --> 00:25:09,960
I don't know if you're thinking this far ahead? Do

471
00:25:10,000 --> 00:25:12,240
you plan Do you have another release already kind of

472
00:25:12,240 --> 00:25:14,519
in mind or are you just kind of focused on

473
00:25:14,759 --> 00:25:17,440
on this one in the moment or because you're probably

474
00:25:17,440 --> 00:25:18,920
always writing, I'm sure you've got a lot.

475
00:25:18,799 --> 00:25:22,680
Speaker 5: Of ideas always writing. Yeah, and yeah, I don't have

476
00:25:25,079 --> 00:25:30,279
a concrete, certain set that I'm going to release. I've

477
00:25:30,319 --> 00:25:33,559
got another single that I worked with an online producer

478
00:25:33,839 --> 00:25:36,039
to flesh out. It's my first time ever just handing

479
00:25:36,079 --> 00:25:38,400
a song over and being like, yeah, you do all

480
00:25:38,440 --> 00:25:41,640
the instruments. Oh, and I'm really excited with how that

481
00:25:41,720 --> 00:25:43,079
came back. So I'm going to work with him on

482
00:25:43,119 --> 00:25:45,440
a handful of more songs. But so that song is

483
00:25:45,519 --> 00:25:48,079
called on borrowed time, that'll come out. I don't have

484
00:25:48,160 --> 00:25:51,839
a date, but certainly by the by Memorial Day. Oh okay,

485
00:25:52,039 --> 00:25:54,279
I'm going to move on from not move on from

486
00:25:54,359 --> 00:25:56,680
these songs quickly. But I've got a backlog of like

487
00:25:56,799 --> 00:26:00,440
fifty more songs that I think deserve release, and I'm

488
00:26:00,519 --> 00:26:02,799
thirty six. I can't just wait forever to do this.

489
00:26:03,000 --> 00:26:05,279
So this is like the year that I'm doing two

490
00:26:05,400 --> 00:26:08,920
full albums for sure. Wow, at least another handful of

491
00:26:09,000 --> 00:26:10,119
singles on top of it.

492
00:26:10,319 --> 00:26:14,799
Speaker 4: Oh, that's great, that's great. When you play live solo,

493
00:26:15,200 --> 00:26:18,799
do you, I mean you obviously have a lot of

494
00:26:18,839 --> 00:26:20,880
your own material to draw from. Do you also play

495
00:26:20,960 --> 00:26:23,359
some covers or do you are you able to do

496
00:26:23,440 --> 00:26:25,160
shows where you just play your own stuff.

497
00:26:24,960 --> 00:26:30,759
Speaker 5: Or I predominantly play my own material. Good, there's so

498
00:26:30,960 --> 00:26:34,880
much of it that even I've worked with I play

499
00:26:35,000 --> 00:26:38,720
breweries and things like three hours in that three hours, right,

500
00:26:38,759 --> 00:26:40,839
there's a couple of ten minute breaks, and I'm playing

501
00:26:40,920 --> 00:26:43,680
maybe five covers over the course of three hours. Like

502
00:26:45,160 --> 00:26:51,079
it's mostly original music, which is a way to do it.

503
00:26:51,160 --> 00:26:53,039
I don't know if it's the best strategy, but it's

504
00:26:53,079 --> 00:26:55,480
the strategy that I choose. If it's working for you,

505
00:26:55,640 --> 00:26:57,480
it's working for you. Yeah, I say, run with it.

506
00:26:57,599 --> 00:27:03,519
That's great, that's great. I'm also curious about influences I hear.

507
00:27:04,519 --> 00:27:06,359
Speaker 4: I think a little bit of Ben Folds.

508
00:27:06,240 --> 00:27:09,559
Speaker 5: Maybe, Oh man, I love ben Folds. Yeah, yeah, I

509
00:27:09,640 --> 00:27:11,079
think he's an absolute genius.

510
00:27:11,599 --> 00:27:14,359
Speaker 4: I also thought maybe I don't know so much on

511
00:27:14,480 --> 00:27:16,160
that one. But the other one we played a bit

512
00:27:16,279 --> 00:27:17,319
James Taylor is that.

513
00:27:17,559 --> 00:27:20,200
Speaker 5: Is he and your James Taylor is very much in

514
00:27:20,319 --> 00:27:21,839
my in my wheelhouse as well.

515
00:27:21,960 --> 00:27:24,359
Speaker 4: I think one of the greatest songwriters of all time. Personally,

516
00:27:24,480 --> 00:27:25,200
James Taylor is.

517
00:27:25,240 --> 00:27:28,160
Speaker 5: Incredible, agreed, and when he knocks it out of the park,

518
00:27:28,240 --> 00:27:29,839
there's nobody better.

519
00:27:30,079 --> 00:27:30,319
Speaker 2: Yeah.

520
00:27:30,640 --> 00:27:33,839
Speaker 5: Yeah, He's got some absolutely great songs. So certainly you've

521
00:27:33,880 --> 00:27:37,759
picked two that I absolutely love. Other influences that you'd

522
00:27:37,799 --> 00:27:42,000
certainly hear on this album The Postal Service, right, Ben

523
00:27:42,079 --> 00:27:45,079
Gibbard Death Cab for Cutie is another big influence.

524
00:27:45,720 --> 00:27:47,440
Speaker 4: Yeah, that one never occurred to me, but now that

525
00:27:47,519 --> 00:27:49,359
you mention it, I can hear it. Yeah, now as

526
00:27:49,400 --> 00:27:49,799
you mentioned it.

527
00:27:49,920 --> 00:27:55,200
Speaker 5: Yeah, other you know piano writers that I really look

528
00:27:55,279 --> 00:28:00,480
up to. Randy Newman, Okay, someone I discovered late in

529
00:28:00,599 --> 00:28:03,359
life because I'm not an old man. But later right,

530
00:28:03,440 --> 00:28:05,720
I grew up and he was the Toy Story guy. Yeah,

531
00:28:06,200 --> 00:28:08,039
it was You've got a friend in me and that.

532
00:28:08,240 --> 00:28:11,599
And then I was reading a Ben Folds interview whatever

533
00:28:11,799 --> 00:28:13,920
was ten years ago, and he said Randy Newman was

534
00:28:13,960 --> 00:28:16,799
one of his biggest influences. What am I sleeping on here?

535
00:28:17,200 --> 00:28:22,200
And going deeper back into his discography, it was amazing,

536
00:28:22,279 --> 00:28:25,160
you know the album's Little Criminals or or good old

537
00:28:25,200 --> 00:28:27,559
boys like he's just incredible.

538
00:28:27,759 --> 00:28:32,079
Speaker 4: Yeah. Any any Frank Zappa, No Frank Zappa, Okay.

539
00:28:32,400 --> 00:28:34,480
Speaker 5: I got to check out Frank Zappa. All my friends

540
00:28:34,680 --> 00:28:37,519
enjoy Frank Zappa. And I've never done the deep dive

541
00:28:37,559 --> 00:28:38,359
into his catalog.

542
00:28:38,599 --> 00:28:41,000
Speaker 4: Yeah, I mean it's it's it gets pretty pretty weird, but.

543
00:28:41,839 --> 00:28:42,680
Speaker 5: But her mind weird.

544
00:28:42,759 --> 00:28:46,119
Speaker 4: But he's Yeah, yeah, most of us don't. If you know,

545
00:28:46,160 --> 00:28:47,799
when we give it a chance, you know, he's got,

546
00:28:47,960 --> 00:28:50,079
He's got some great stuff. I I was never a

547
00:28:50,160 --> 00:28:52,759
big Frank Zappa fan myself, but a couple of years ago,

548
00:28:52,839 --> 00:28:55,400
so I'm on a show on Friday Night's called Retrospection

549
00:28:55,519 --> 00:28:57,799
Radio with PAULI C. And Paul's a huge Zappa fan,

550
00:28:57,880 --> 00:28:59,759
and he's played some stuff on there that's like wow.

551
00:28:59,839 --> 00:29:01,279
I So I remember when I was a kid, my

552
00:29:01,400 --> 00:29:03,599
parents were into him, but I never got into him.

553
00:29:03,799 --> 00:29:05,039
Speaker 5: But now, you know, as an.

554
00:29:04,960 --> 00:29:07,039
Speaker 4: Adult, you know, because you get older and you appreciate

555
00:29:07,119 --> 00:29:09,000
stuff that maybe you heard when you were a kid

556
00:29:09,440 --> 00:29:12,000
that you didn't connect with, but now now you hear

557
00:29:12,079 --> 00:29:14,000
it and you go, oh, now I get it. Now

558
00:29:14,039 --> 00:29:16,400
I understand what's great about this, you know. And of

559
00:29:16,480 --> 00:29:18,160
course there's other stuff you might hear that you liked

560
00:29:18,200 --> 00:29:20,440
when you were a kid where you go ooh, I

561
00:29:20,559 --> 00:29:24,839
used to like that. That happens too. But yeah, But

562
00:29:25,640 --> 00:29:30,319
and your your vocal style specifically, is there anyone you

563
00:29:30,519 --> 00:29:33,799
you try to really emulate or who influences you in

564
00:29:33,920 --> 00:29:34,920
terms of how you sing.

565
00:29:35,799 --> 00:29:41,440
Speaker 5: Ah, that's a great question. Ben Folds would come back

566
00:29:41,559 --> 00:29:45,960
up simply because he does not have like a conventionally

567
00:29:46,039 --> 00:29:49,119
pretty voice. I never felt like I did either, And

568
00:29:49,279 --> 00:29:52,000
so it was like a permission to just have a voice.

569
00:29:52,119 --> 00:29:55,160
Or Ben Kuehler is the same thing. Okay, like guys

570
00:29:55,240 --> 00:29:59,759
who don't don't have that beautiful voice, right, I mean

571
00:29:59,799 --> 00:30:04,000
I I worship Jeff Buckley. I will never sing like that.

572
00:30:04,480 --> 00:30:10,519
It's never gonna happen. Or like, let's see Joe Cocker

573
00:30:11,079 --> 00:30:13,680
amazing voice. You just heard the guy sing and be like,

574
00:30:13,720 --> 00:30:16,359
what is wrong? But the performance just what makes it amazing?

575
00:30:16,519 --> 00:30:16,880
Speaker 4: Agreed.

576
00:30:16,960 --> 00:30:19,319
Speaker 5: And another one that I didn't realize until maybe a

577
00:30:19,400 --> 00:30:23,839
couple of years ago, was is Tracy Chapman. Yeah, definitely.

578
00:30:24,200 --> 00:30:26,519
I loved her albums when I was a kid. I

579
00:30:26,599 --> 00:30:29,200
love her albums still. And I didn't realize that some

580
00:30:29,359 --> 00:30:33,759
of my inflections were borrowed until I accidentally pitch shifted

581
00:30:33,799 --> 00:30:36,880
my voice up on a recording that I was working on,

582
00:30:37,079 --> 00:30:40,480
and I was like, oh, wow, I sound a bit

583
00:30:40,599 --> 00:30:43,039
like Tracy Chapman if you pitch ship my voice up

584
00:30:43,079 --> 00:30:43,400
a fifth.

585
00:30:44,240 --> 00:30:48,240
Speaker 4: Oh that's interesting, okay, yeah, yeah, oh very cool.

586
00:30:48,440 --> 00:30:48,599
Speaker 5: Yeah.

587
00:30:48,680 --> 00:30:50,440
Speaker 4: Part of why I was curious to ask you that

588
00:30:50,559 --> 00:30:55,559
question is your voice, Like, vocally, you don't remind me

589
00:30:55,640 --> 00:30:58,200
of anyone specific, So I was curious what your influences were,

590
00:30:58,359 --> 00:30:59,960
which by the way. I mean that as a COMPLI

591
00:31:00,319 --> 00:31:02,119
because it's you know, you're I think it's cool that

592
00:31:02,200 --> 00:31:04,839
you sound you know, unique, you know, because some people,

593
00:31:04,920 --> 00:31:06,400
you know, you can listen to and say, oh, they

594
00:31:06,440 --> 00:31:08,359
sound like they sound like so and so. But to

595
00:31:08,960 --> 00:31:11,240
to not be able to easily identify someone that you

596
00:31:11,319 --> 00:31:13,400
sound like, I think it's cool, so and I think

597
00:31:13,519 --> 00:31:15,240
I think it makes what you're doing even that much

598
00:31:15,279 --> 00:31:17,839
more interesting, at least to someone like me really analyzes

599
00:31:17,880 --> 00:31:18,400
this stuff like.

600
00:31:18,440 --> 00:31:20,680
Speaker 5: The nerd that I am, you know, I do take

601
00:31:20,759 --> 00:31:22,240
that very cool.

602
00:31:22,400 --> 00:31:24,839
Speaker 4: Well, let's let's play another track. Which one should we

603
00:31:24,920 --> 00:31:25,319
play next?

604
00:31:26,440 --> 00:31:29,720
Speaker 5: Let's do uh, the one we kicked off the show

605
00:31:29,799 --> 00:31:31,880
with here. What was that Getting dark?

606
00:31:32,359 --> 00:31:37,920
Speaker 4: Getting dark? Yeah, speaking of pitch shifting. So we'll play

607
00:31:37,960 --> 00:31:40,240
this at the correct speed. Now, that would be great,

608
00:31:41,039 --> 00:31:43,440
very cool if you are just joining us. Ian Gallipo

609
00:31:43,599 --> 00:31:46,640
is here with us in studio, and this is called

610
00:31:46,720 --> 00:31:47,599
Getting Dark.

611
00:31:54,279 --> 00:31:58,039
Speaker 2: Countdown. The lift of knowing you and I.

612
00:32:02,559 --> 00:32:07,799
Speaker 1: Expectations were a couple of months. At moments, we would

613
00:32:07,880 --> 00:32:17,559
do our level best, carry on firely, rumbling down below

614
00:32:18,720 --> 00:32:27,559
sky above on fours and it's getting dark, the sky

615
00:32:28,480 --> 00:32:42,400
above falls and getting dar We made it farther th

616
00:32:42,559 --> 00:32:49,160
anybody ever forgot of starlight filled us up so we

617
00:32:49,720 --> 00:32:51,559
could stab beyond.

618
00:32:52,759 --> 00:32:58,519
Speaker 2: The limits. Everybody said it would take their toll. We

619
00:32:58,759 --> 00:32:59,759
opened up.

620
00:33:01,359 --> 00:33:07,640
Speaker 9: The whole world to explore together, just a light on

621
00:33:08,279 --> 00:33:16,920
in the dark together, just to light on in.

622
00:33:17,480 --> 00:33:18,680
Speaker 7: The dark.

623
00:33:24,160 --> 00:33:30,079
Speaker 2: Storm on the horizon. And all that you could do.

624
00:33:31,160 --> 00:33:33,119
Speaker 7: Was walk.

625
00:33:35,400 --> 00:33:42,599
Speaker 1: While I was overwhelmed, and there was nothing I could say.

626
00:33:43,759 --> 00:33:58,119
But my bader is long, and it's getting dark. My

627
00:33:58,480 --> 00:34:03,759
bad years long, and it's getting dark.

628
00:34:16,599 --> 00:34:20,559
Speaker 2: We tried to hold on. The week's turned into months,

629
00:34:20,639 --> 00:34:22,239
still out of range.

630
00:34:24,480 --> 00:34:29,679
Speaker 1: Until that moment when you sang out yr goodbye. I

631
00:34:29,920 --> 00:34:34,960
was too far gone for you to hear me. But

632
00:34:35,119 --> 00:34:42,880
the morning sun let the heart insight a fineal pulse,

633
00:34:43,159 --> 00:34:53,519
a glam the dark a fineal pulse, a glamor, and

634
00:34:54,159 --> 00:35:03,360
the dark together just stood light on in the dark,

635
00:35:06,280 --> 00:35:13,119
the sky above, and it skinning.

636
00:35:13,000 --> 00:35:22,000
Speaker 2: Dug my bad is and it's scanning dark.

637
00:35:34,280 --> 00:35:40,400
Speaker 4: That is getting dark. It's another one of those cool endings.

638
00:35:40,599 --> 00:35:43,639
Speaker 5: I really like that a lot, thanks my sos. At

639
00:35:43,679 --> 00:35:44,960
the end, there is that what that is?

640
00:35:45,119 --> 00:35:46,239
Speaker 4: Yeah, yeah, that's cool.

641
00:35:46,280 --> 00:35:46,679
Speaker 5: I like that.

642
00:35:47,159 --> 00:35:49,840
Speaker 4: That is Ian Gallipo, who is here with us in

643
00:35:50,119 --> 00:35:53,320
the studio, and well, the time does go quickly, but

644
00:35:53,599 --> 00:35:55,079
a couple of things. So, first of all, I want

645
00:35:55,119 --> 00:35:58,400
to make sure that everyone knows where to find you online,

646
00:35:58,440 --> 00:36:00,800
how to keep up with everything that you're doing, especially

647
00:36:00,920 --> 00:36:02,760
since I'm sure there are people who have no idea

648
00:36:02,800 --> 00:36:03,719
how to spell Gallipo.

649
00:36:05,239 --> 00:36:09,360
Speaker 5: I don't know. Sometimes I wouldn't blame them, No, thanks, Matt.

650
00:36:09,760 --> 00:36:15,559
It's yeah, Ian Gallipo music, I A N It's Ian Gallipo,

651
00:36:15,679 --> 00:36:18,960
a bunch of extra vowels. It's French G A L

652
00:36:19,119 --> 00:36:23,400
I P E A U and music on Let's See,

653
00:36:23,480 --> 00:36:30,199
on Instagram, on TikTok, on uh YouTube, on Facebook, my website,

654
00:36:30,280 --> 00:36:32,800
Ian Galipo music dot com. You can find me in

655
00:36:32,880 --> 00:36:35,480
all of those places. I'm most active on Instagram. But

656
00:36:36,440 --> 00:36:39,519
wherever you know you're at, that's that's where I am.

657
00:36:40,000 --> 00:36:42,199
Speaker 4: I was even misspelling your name the other day when

658
00:36:42,239 --> 00:36:44,079
I was when I was doing a post for the

659
00:36:44,119 --> 00:36:46,920
show today, I was I kept typing two l's, and

660
00:36:46,960 --> 00:36:48,760
I kept having to correct myself because I think in

661
00:36:48,880 --> 00:36:53,000
my mind the consonant to vowel ratio in your name

662
00:36:53,760 --> 00:36:55,760
was throwing me always. Like you said, it's friends. So

663
00:36:55,800 --> 00:36:58,559
there's a lot of a lot of vowels, so I

664
00:36:58,679 --> 00:37:00,800
kept trying to I kept trying to raise the number

665
00:37:00,840 --> 00:37:04,559
of consonants in your name. Anybody ever spell it wrong

666
00:37:04,639 --> 00:37:06,159
on a poster or anything.

667
00:37:05,920 --> 00:37:08,639
Speaker 5: On a Oh? Yeah, who El's is the most common?

668
00:37:08,800 --> 00:37:08,960
Speaker 11: Is it?

669
00:37:09,119 --> 00:37:09,320
Speaker 8: Yeah?

670
00:37:09,599 --> 00:37:12,400
Speaker 5: Who El's is the most common? And flipping the the

671
00:37:12,480 --> 00:37:15,400
e and the flipping the vowels at the end, au right,

672
00:37:15,480 --> 00:37:21,840
it's like beautiful or whatever. But a EU a U

673
00:37:22,000 --> 00:37:24,079
E like they just throw them in at the end.

674
00:37:24,320 --> 00:37:26,159
I don't blame them, I can imagine.

675
00:37:26,239 --> 00:37:27,360
Speaker 4: Yeah, that's funny.

676
00:37:27,760 --> 00:37:27,880
Speaker 1: Uh.

677
00:37:28,039 --> 00:37:31,760
Speaker 4: And and modern Fools of course too. Where should people

678
00:37:31,800 --> 00:37:32,639
go for modern fools?

679
00:37:32,719 --> 00:37:37,480
Speaker 5: Modern fools and Modern Fools music on Instagram, Facebook, TikTok,

680
00:37:37,960 --> 00:37:39,320
modern fools music dot com.

681
00:37:39,800 --> 00:37:42,480
Speaker 4: That's easy, that's nice, and that's much easy. I assume

682
00:37:42,519 --> 00:37:44,599
modern fools has never been spelled wrong on a poster.

683
00:37:45,159 --> 00:37:47,360
Speaker 5: Uh, not that I recall, it's never been like a.

684
00:37:47,440 --> 00:37:51,639
Speaker 4: Z Yeah, yeah, right, that's good. That's good.

685
00:37:51,800 --> 00:37:52,320
Speaker 7: And what do you have?

686
00:37:52,639 --> 00:37:53,760
Speaker 4: What do you have coming up to plug?

687
00:37:54,119 --> 00:37:56,840
Speaker 5: Yeah? For sure, I'm playing tonight actually over in Hancock,

688
00:37:56,920 --> 00:38:00,159
New Hampshire. You've got an amazing uh venue over there,

689
00:38:00,239 --> 00:38:02,639
Like Hancock is the queint essential small New England town

690
00:38:03,000 --> 00:38:05,280
probably even I haven't even heard of it. It's I

691
00:38:05,360 --> 00:38:07,440
was gonna say, I don't know where Hancock is. It's

692
00:38:07,519 --> 00:38:11,480
sort of north of Peterborough, right between and Manchester.

693
00:38:11,679 --> 00:38:11,840
Speaker 8: Yeah.

694
00:38:11,880 --> 00:38:15,920
Speaker 5: Yeah, there's this old train station that they've converted, right

695
00:38:16,000 --> 00:38:19,360
like the classic long thin building. The Hancock Depot is

696
00:38:19,400 --> 00:38:22,000
a converted train station and they do a wonderful monthly

697
00:38:22,119 --> 00:38:22,960
series I've heard.

698
00:38:23,039 --> 00:38:26,159
Speaker 4: Okay, that sounds very familiar. I think when Eric was

699
00:38:26,199 --> 00:38:28,840
on Temple Mountain, I think he talked about that place.

700
00:38:29,159 --> 00:38:32,440
He probably plays there, he has played there, Okay, because

701
00:38:32,440 --> 00:38:34,679
that sounds as soon as you mentioned train station. Yep.

702
00:38:35,039 --> 00:38:37,960
Speaker 5: It's a wonderful vibe, really really great spot. So I'm

703
00:38:37,960 --> 00:38:41,320
playing there tonight. That's at seven thirty. My next thing

704
00:38:41,400 --> 00:38:45,400
near Manchester is just over a couple months out here.

705
00:38:45,760 --> 00:38:49,000
April twenty sixth I'll be over here playing at Great

706
00:38:49,079 --> 00:38:50,920
North Aale works in the in the afternoon.

707
00:38:51,119 --> 00:38:53,440
Speaker 4: Oh Bill, very good. Jenny and I are going to

708
00:38:53,480 --> 00:38:54,760
be there later today. I don't know if you know

709
00:38:54,880 --> 00:38:56,400
Jenny's Sun Jesse Coffee, but.

710
00:38:56,519 --> 00:38:59,199
Speaker 5: Oh yeah, I know Jesse Jesse. He's great.

711
00:38:59,280 --> 00:39:03,559
Speaker 4: Yeah, he's playing there today. Yeah yeah, Small World.

712
00:39:04,760 --> 00:39:07,639
Speaker 5: Sweetheart, Yeah yeah, he's doing all the booking over there

713
00:39:07,679 --> 00:39:08,639
now yeah.

714
00:39:08,800 --> 00:39:10,880
Speaker 4: Yeah, yeah, he's doing great. Yeah. So we're gonna go

715
00:39:10,880 --> 00:39:16,800
see him play today. Yeah yeah, yeah today at four pm.

716
00:39:16,960 --> 00:39:17,159
Speaker 5: Yeah.

717
00:39:17,719 --> 00:39:20,360
Speaker 4: So, oh didn't did I know why that?

718
00:39:20,559 --> 00:39:21,119
Speaker 5: I think I know why.

719
00:39:21,199 --> 00:39:24,159
Speaker 4: The train station sounds familiar to me too, didn't Modern fools?

720
00:39:24,159 --> 00:39:26,079
Did Did you guys record a video there or something?

721
00:39:26,280 --> 00:39:30,000
Speaker 5: We did? Yes, okay, that's that would that would so

722
00:39:30,079 --> 00:39:33,840
we did? Uh yeah, a live version basically of our

723
00:39:33,880 --> 00:39:37,039
album recorded in that space videos for it.

724
00:39:37,280 --> 00:39:37,480
Speaker 7: Yeah.

725
00:39:37,559 --> 00:39:38,320
Speaker 5: Yeah, it's fun.

726
00:39:38,559 --> 00:39:42,840
Speaker 4: Yeah, yeah, very cool, very cool. Well, congratulations on the

727
00:39:42,920 --> 00:39:45,960
album and everything that you're doing. And uh, it's great

728
00:39:46,000 --> 00:39:47,760
to have you on. We'll definitely do this again in

729
00:39:47,840 --> 00:39:50,679
the future, especially when you know it sounds like you've

730
00:39:50,719 --> 00:39:53,480
got another single coming soon, so I do well, Uh,

731
00:39:53,760 --> 00:39:55,920
we'll definitely we'll have you on for that, and that's

732
00:39:55,920 --> 00:39:58,199
going to be separate from the album. It'll be a

733
00:39:58,239 --> 00:40:00,599
completely separate thing. Yeah yeah, So, well, we'll do this

734
00:40:00,679 --> 00:40:03,960
again soon and we will close out with so we

735
00:40:04,079 --> 00:40:06,559
have one more to play here. Oh I'm curious too.

736
00:40:07,119 --> 00:40:10,280
The So the title is Thoughts of a Widowed Cartoonist.

737
00:40:10,480 --> 00:40:12,599
That's the title of the song this this ass have

738
00:40:12,800 --> 00:40:17,519
a story behind it, I assume it's so this song

739
00:40:17,639 --> 00:40:21,039
is fiction, okay, but it's it's as silly as this.

740
00:40:21,800 --> 00:40:24,000
I wanted to write a song it was. It came

741
00:40:24,039 --> 00:40:26,559
from a prompt. I wanted a song with the word

742
00:40:26,639 --> 00:40:29,679
toothbrush in it because I thought that was weird. Yeah,

743
00:40:30,000 --> 00:40:31,920
and I thought it would just be silly. And most

744
00:40:31,960 --> 00:40:33,920
of the time, when I give myself a prompt that's silly,

745
00:40:33,960 --> 00:40:35,559
it ends up being something very serious.

746
00:40:35,679 --> 00:40:38,320
Speaker 5: Oh really, yeah, so this is that. It's it's sort

747
00:40:38,360 --> 00:40:42,039
of this song. It's the thoughts of a widow. For

748
00:40:42,159 --> 00:40:45,440
whatever reason, the guy's a cartoonist. I don't know why. Okay,

749
00:40:45,519 --> 00:40:47,360
it's just the imagery that came up as I was

750
00:40:47,440 --> 00:40:49,760
working through the verses of this song. Okay, So I

751
00:40:49,880 --> 00:40:51,760
wanted a song with a toothbrush in it, and I

752
00:40:51,800 --> 00:40:54,199
also wanted a song with a bass drop in it.

753
00:40:54,320 --> 00:40:57,360
I've never written something with that whoa, whoa whoa, you know,

754
00:40:57,519 --> 00:41:01,679
electronic instruments sound. I met those two things together and

755
00:41:01,800 --> 00:41:03,559
this is the song that came out. It's a little

756
00:41:03,599 --> 00:41:05,800
bit ridiculous, but I think it's kind of cool.

757
00:41:05,960 --> 00:41:09,519
Speaker 4: Yeah, absolutely, absolutely very cool. So we'll play that and

758
00:41:10,039 --> 00:41:13,119
if you are listening live on Saturday stick around. We

759
00:41:13,199 --> 00:41:17,199
have Becoming Human skyping in from Texas in the third hour,

760
00:41:17,639 --> 00:41:21,159
but we will close out this segment with this. This

761
00:41:21,360 --> 00:41:24,000
is called thoughts of a Widowed Cartoonist and this is

762
00:41:24,079 --> 00:41:27,039
Ian Gallipo and Ian, thank you again, Thank you so much.

763
00:41:27,119 --> 00:41:37,800
Speaker 6: Man, your tea is fresh, is still here.

764
00:41:39,440 --> 00:41:47,760
Speaker 11: Waiting on corner of the same under the mirror, having

765
00:41:48,199 --> 00:41:48,920
sound the.

766
00:41:49,000 --> 00:41:57,199
Speaker 6: Strings, the throw out, Oh, I know, I should it?

767
00:41:57,400 --> 00:41:59,559
Lets me pretend.

768
00:42:07,400 --> 00:42:12,679
Speaker 2: Laugh if you could see Wayne, my mind.

769
00:42:12,599 --> 00:42:17,599
Speaker 1: Gets caught up writing captions for the Greek.

770
00:42:19,280 --> 00:42:22,639
Speaker 6: Boxed up in the comic thoughts of.

771
00:42:23,039 --> 00:42:30,920
Speaker 1: Find Corval distraction that helped me forget.

772
00:42:39,000 --> 00:42:44,880
Speaker 6: I don't know if it's sad or funny little things.

773
00:42:44,719 --> 00:42:49,760
Speaker 2: I took for grants and pieces of like.

774
00:42:51,239 --> 00:42:54,280
Speaker 6: Every day and unromantic.

775
00:42:55,119 --> 00:42:58,840
Speaker 2: Let us be on the pull up street and love

776
00:43:00,719 --> 00:43:01,079
when you.

777
00:43:02,559 --> 00:43:04,119
Speaker 6: Return and done.

778
00:43:06,559 --> 00:43:08,159
Speaker 2: Will stay.

779
00:43:18,760 --> 00:43:26,239
Speaker 11: Alad it disappear. Sent it to the land film, knowing

780
00:43:27,000 --> 00:43:34,920
in thousand years the bristles and the handle will be there.

781
00:43:36,880 --> 00:43:56,239
Speaker 2: More than's the same, Oh.

782
00:43:56,199 --> 00:43:59,800
Speaker 8: Of the mind, where have you been?

783
00:44:02,920 --> 00:44:10,960
Speaker 14: Sqwelve o'cloud nights cloves, name, call your name?

784
00:44:12,119 --> 00:44:20,159
Speaker 2: The just came? Who love my? Where health of it?

785
00:44:23,760 --> 00:44:38,719
Speaker 14: The drop jective rejoin door line stood gone before my valantie.

786
00:44:39,800 --> 00:44:41,119
Speaker 2: That would say.

787
00:44:44,280 --> 00:44:54,079
Speaker 8: It's gone away forever. The daughter has a devil in

788
00:44:54,280 --> 00:45:05,960
the ride. Wicked hearts door apart my life excused me

789
00:45:06,679 --> 00:45:08,559
the sweetest scale I know.

790
00:45:12,119 --> 00:45:36,920
Speaker 7: Naught he still bow down Cigartee tweets, Listen.

791
00:45:39,840 --> 00:45:43,280
Speaker 2: And pregat mad w.

792
00:45:46,679 --> 00:45:56,440
Speaker 14: Soon remain from the hills, do cheating hard life. Next,

793
00:46:00,519 --> 00:46:09,480
daughter has Bible in the ride. She did her store

794
00:46:10,000 --> 00:46:17,639
for thy life. You still mean sweetish gam I know

795
00:46:21,239 --> 00:46:24,119
daughter is double down.

796
00:46:27,639 --> 00:46:28,679
Speaker 2: Don't call me.

797
00:46:29,440 --> 00:46:37,239
Speaker 14: The mornings because I'm crying in my bed. Left with

798
00:46:37,679 --> 00:46:41,920
thinal mornings and I'd rather receive.

799
00:46:45,360 --> 00:46:46,000
Speaker 2: Red hair.

800
00:46:46,519 --> 00:46:50,760
Speaker 14: Shootook, she never was my friend.

801
00:46:54,039 --> 00:47:03,360
Speaker 2: Fibbles and the chairs hem f some devils in details,

802
00:47:03,599 --> 00:47:06,199
And the boy said