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Speaker 1: You're listening to macconnorton Unleashed on wm n H ninety

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five point three.

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Speaker 2: And now the American radio premiere of the new single

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by three times seven.

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Speaker 3: This is called dressing for the weather.

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Speaker 4: Just a fall the weather I want, Oh, just a

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model mother hour.

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Speaker 5: Never mind the weather.

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Speaker 6: I can make it back.

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Speaker 5: I can make a.

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Speaker 7: Shong shu shine.

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Speaker 5: Like the weather I want.

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Speaker 8: There ain't no stormy Monday gonna reade because I'm riching high.

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Speaker 6: I stun an't o No, it only.

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Speaker 3: Takes a little mom.

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Speaker 6: It takes a little one. It takes a little I

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only takes a little hop. It takes a little home.

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Speaker 8: Now, if I didn't know any better, I play the weather.

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Speaker 6: You now have me my favorite hits you You see,

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I'm dressed by the water.

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Speaker 4: I want, oh, dressed upon the weather.

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Speaker 6: I never mind the weather. I can make it better.

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Speaker 9: I can make a shine.

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Speaker 6: Range sharp.

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Speaker 8: Like the weather I want.

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Speaker 6: I'm dressing for please guys, not the please. Oh, I'm

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dressing for me. I'm dressing for me. I left the

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diet the lever.

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Speaker 5: You don't take just a minute, because I know.

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Speaker 4: Now it only takes a little, It takes a little

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let It takes a little up, only takes a lot.

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Speaker 3: It takes a.

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Speaker 8: Little shot out whatever the weather when making it better, gain.

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Speaker 6: No hand in my favorite suit.

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Speaker 5: I'm dressing my way.

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Speaker 6: With our world. Oh dress up on the weather.

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Speaker 4: Our world and pulling as count together.

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Speaker 5: For the way the.

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Speaker 8: Time can pray the side.

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Speaker 6: Out every time. That's what I.

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Speaker 4: Wild, That's what I need. What I need, It's time

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that us sound about and a sound of me.

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Speaker 10: This is Jesse Rutstein and Caleb Dyer.

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Speaker 3: Oh, oh okay, we can let's do that one more time.

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Speaker 10: This is Jesse Rutstein and Caleb Dyer.

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Speaker 3: Oh crap, hold on, what do you want me to say?

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Right after that? From Hatchet act from and then I'll say,

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you're listening right? Sounds good.

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Speaker 10: This is Jesse Rutstein and oh this is why I'm

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the leader. This is Jesse Rutstein and Caleb Dyer from Hatchet,

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Ax and Saw Records. You are listening to the Matt

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Connerton Show on w m n H ninety five point

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three Manchester.

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Speaker 5: Actually, what did I say?

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Speaker 3: Okay, all right, all right, let's do this again. Let's

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do this again.

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Speaker 10: This is Jesse Rutstein and Caleb Dyer. From Hatchet Axon

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Saw Records. You are listening to Matt Connorton Unleashed on

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five three w NAD. This is Jesse Rutstein and Caleb

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Dyer from Hatchet Axon Saw Records. You are listening to

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Matt Connorton Unleashed on ninety five point three w m

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n H f M.

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Speaker 3: Hey, here we go. Welcome everybody.

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Speaker 2: It is that time again, Matt Connerton Unleashed and we

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are live from the studios of w m n H

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ninety five point three FM and Glorious of Manchester, New Hampshire.

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Today is a Saturday, August sixteen, twenty twenty five, and

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I am not alone.

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Speaker 5: Jenny Jarland's show friend.

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Speaker 3: Good morning, sunshine. Jenny is here at the news table.

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I am a present. So we got a big you're

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not accounted for. I'm not sure yet, okay, all right, well,

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very good, very good.

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Speaker 2: So welcome everybody. Oh we've got a great show for

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you today. Each phonograph or is it phonograph or phonograph?

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I guess phonograph is the more common. Well, the thing is, well,

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they're not on a different side of the pond. True,

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they are in Oregon, which I used to pronounce it Oregon,

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but apparently it's it's Oregon or or Oregon or Oregon.

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Speaker 3: I was told it was Oregon.

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Speaker 2: I've heard it pronounced seven different ways. But anyway, that's

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where they're from. And they're gonna be joining us in

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a few minutes online, so u And then in the

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second hour we have Superbug and then in the third

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hour we have jam Demic.

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Speaker 3: Uh. Both of those bands will be joining us in studio.

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So uh. So we've got a great show for you today.

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Speaker 2: And of course we opened with the American radio premiere

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of three Times seven, another great band.

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Speaker 3: We had them on. Was it last week or the

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week before?

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Speaker 2: It all becomes a blur three Time seven, But they

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were on with us, a great act from the UK.

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Speaker 11: Uh.

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Speaker 3: They are.

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Speaker 2: They perform in a couple of different configurations. Sometimes they're

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a duo, sometimes they're foursome.

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Speaker 3: It's it really cool.

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Speaker 2: So I enjoyed us speaking with them quite a bit.

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I think that was either last week or the week before.

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Like I said, it all becomes a blur. But so

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we've got a lot to do today on the program,

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So welcome everybody, and I think in a moment what

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we'll do is We're gonna play a song from New

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Age Phonograph, and that's a pronunciation. I'm going with Phonograph.

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I have not decided. I've not decided how to pronounce

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the name of their state. We'll see how they pronounce it.

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Speaker 3: I think they're the official.

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Speaker 2: They would be the official arbiters of that in this uh,

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in this particular debate. But I think we should play.

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I really like their sound a lot. I think we

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should open with a long one. This is track called

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Out in the Valley. It's about five minutes, but it's

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his really good. I love their sound and they're you know,

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they're fancy.

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Speaker 3: They play.

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Speaker 2: They each play multiple instruments, So I think we should

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start with that. And then they're going to be joining

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us online via restream.

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Speaker 3: You know, we don't have Skype anymore. Skype went away,

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so we have all these other options that were using.

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Speaker 2: Oh yeah, dial up. Yeah, remember what you used to

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be able to get those discs. You'd walk into a

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store and you could get a free AOL disc and

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then uh. I remember trying to get online at uh

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you know, like around five six o'clock during the daytime,

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and it would take forever because it was like it

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could only handle so many people online at once, and

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then nobody could call you and then right right because

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the phone would be tied up.

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Speaker 3: Yeah, and phones, those were the days. Well, there were

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cell phones by that.

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Speaker 12: Cell phones.

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Speaker 3: Oh, cell phones definitely came first. Yeah, I mean sure,

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I don't know. Yeah, it might not seem like it

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because I had the cell phone before I had the internet.

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Speaker 2: Well, so in the early days of when we still

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had when we still had dial up. Not everyone had

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a cell phone at that point necessarily, and everyone still

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had their landline. But but yeah, dial up is finally

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being discontinued.

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Speaker 3: I don't know.

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Speaker 2: I don't know if it's the case now, but I

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remember about ten years ago there were still parts of

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New Hampshire, like way up North where they were still

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using dial up internet.

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Speaker 3: So I assume that's all been fixed by now.

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Speaker 2: But yeah, as little as ten years ago, maybe even

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more recent, maybe they're still our places and they're just screwed.

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I don't know, but we really don't know. Yeah, I

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don't know. We'll have to look that up. We'll have

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to look that up. But let's give this track a spin.

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This is called Out in the Valley. This is a

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great track from New Age Phonograph, and then we're going

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to speak with the members of New Age Phonograph at

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the end of the song. So stick around plenty more

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to come check this out.

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Speaker 3: This is really good.

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Speaker 10: M hmm.

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Speaker 7: Out in the valley where the west wind blood, I

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gotta place and nobody no.

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Speaker 3: See it.

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Speaker 7: Now you drinking by myself, dringing on my life and

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drinking on my health. Lord to mine, ain't gonna come

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and shine a lot of speed. I was raised on

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the Colorado sand group of the.

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Speaker 5: Small town trying to be on mad.

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Speaker 7: Me and my friend calls of red rock track over

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just a stall and nickel candy shack. Lord to mine

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ain't gonna come and shine a lot on speed.

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Speaker 9: Who out telling I was seven years old? Um to

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the north Whens called wind don.

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Speaker 5: And on friend and toll me. His guitar kept up

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beats of ghettle though we didn't gave fall.

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Speaker 13: Lord mine is on a collar shining lot of speed.

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Speaker 9: Hurry around crazy like a dog.

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Speaker 5: Couldn't see too. The fig head of smile spriens snot

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say the dog.

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Speaker 9: The jail that surprise your pain when you're raising little tail.

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Speaker 5: Lord of night and on a color, shining lot of be.

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Speaker 7: What I want to say?

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Speaker 5: What I want to know? What I want to say.

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I can't help my soul. What you want to feel?

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We can make it real what you wanna feel, can't

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I countee?

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Speaker 7: How in the fallow in the west wind blow, I

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gotta place, and nobody all.

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Speaker 11: Saying?

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Speaker 7: Now you thinking about myself, thinking about my life, thinking

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about my health. Lot of mind, ain't gonna come and

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shining lot of me, fair and of rude, fan of hamm,

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keep all things my grandma say, hair, my heart and

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a hamm and me.

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Speaker 5: That's a whole lot of wealth.

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Speaker 13: Lord of mind, ain't gonna come and shine a lot

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of me?

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Speaker 5: What I wanna say? What I don't want to know,

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what I wanna say?

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Speaker 6: So what you wanna fel?

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Speaker 7: We can make it real what you wanna feel?

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Speaker 14: Caussie, Oh, that is so good.

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Speaker 2: The song is out in the valley and that is

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New Age phonograph. And we have them on the line

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with us. Let's hopefully we can hear them.

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Speaker 3: Hello, are you there, Hey, Matt how's it going?

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Speaker 2: Oh awesome? Sounded great? Yes, welcome to the program, of course.

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So we have Matthew and Randy How are you both

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doing today?

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Speaker 11: Doing all right?

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Speaker 3: Can't complain good? Good?

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Speaker 2: No, yeah, no, I'm excited to talk to you. I

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love your sound. That is just so so good. I

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love not only not only you're playing on that, but

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the production is great. We're gonna play another song, of course,

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at the end of our conversation.

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Speaker 3: But so I'm bummed we don't get.

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Speaker 2: To meet you in person because I know originally you

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were on a tour and you had some trouble. How

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are things going now.

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Speaker 11: Oh, well, the van's in the shop right now, so

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we're hoping to hear some good news back here in

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the next week or so.

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Speaker 15: Yeah.

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Speaker 3: Yeah, that's that's that's stressful. So what were you You

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were out on You're out on tour and the van

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broke down. Is that what happened?

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Speaker 11: Yeah, we were actually in New Mexico and Arizona area

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when we started having a little trouble with it, and

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then we when we got into our Colorado section, that's

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when we were like, no, we got to take it home,

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got to get it looked at. Definitely something up with it.

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So there was no way we were going to go

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any further east. We were actually supposed to be on

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the East coast.

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Speaker 16: Up in where it was not Quebec Nova Scotia before

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we came down and saw you guys, So we were

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kind of bummed that we couldn't go hit that whole

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area on this leg.

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Speaker 3: Of the tour.

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Speaker 11: Yeah, we were able to come over the East coast

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on the first leg and we were just lucky to

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be able to do that.

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Speaker 2: So yeah, yeah, well, you know, there's there's always the

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future when you get when you get back at it.

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Now are you in the meantime? Are you playing shows

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locally or what's kind of the situation there?

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Speaker 11: Yeah, we have access, we have an alternate car, so

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we've and uh planning on doing other shows here. We

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have one coming up locally in Roseberg in October that's

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at a really nice venue called the Rosebud Theater. And

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then we have a couple of little ones in between

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there that are just fill in things and we're trying

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to pick up as many as we can along the way,

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but it's always hard filling in stuff last minute.

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Speaker 3: Really Oh yeah, oh absolutely. And where where are you located?

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Speaker 2: You're in uh, and we were debating it's it's it's Oregon, right,

257
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but we were debating what is the correct way to

258
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say the name of your state?

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Speaker 12: Oregon?

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Speaker 11: Yeah, Oregon, Oregon. And we're in Umquaw Valley. We're just

261
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a little south. Uh would you call it southwest?

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Speaker 3: Yes?

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Speaker 11: Southwest Oregon. Were we're right around the little place called Roseburg.

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Speaker 3: Okay.

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Speaker 12: Uh yeah, so about our hour and a half north

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of the California border.

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Speaker 3: Okay, so yeah, south south. Yeah.

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Speaker 2: I've never been there, but I've heard that it's it's

269
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a beautiful state, but I've never I've not personally visited there.

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Speaker 11: Yeah, definitely. I moved here a few years ago or

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and now is a few years well. When I first

272
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moved here, I was like, Nope, it doesn't get any

273
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better than this. You don't have the the reign of

274
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the normal Northwest, and you don't have the heat of

275
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the south. So it's kind of a perfect moderate temperature

276
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right in the valley.

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Speaker 2: Right, No, that makes sense. And what's the music scene

278
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like there? Because you know what you're doing to me

279
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when I listened to a new age phonograph and and

280
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well we'll talk more about the music in a moment,

281
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but but to me, it's it's uh, you know, not

282
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not terribly common like when I listened to it, I

283
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don't think, Oh, they sound exactly like so and so

284
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you know, so, I don't know.

285
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Speaker 3: I'm curious if where.

286
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Speaker 2: You are, where you're located, are there other artists that

287
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sound like you or do you really kind of stand

288
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out in the scene there?

289
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Speaker 11: Uh well, uh, there wasn't much of a scene not

290
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that long ago, but lately the Roseberg scenes picked up

291
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a little bit. And there's there's a few bands that

292
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I would say are like the top competing bands in

293
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the area, but nobody really sounds like each other. There's

294
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a local band called Widespread Haze. They have their own

295
00:19:15,640 --> 00:19:20,240
hippie jam vibe going on. There's James and the Lost Dogs.

296
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They have more of a classic rock like electric guitar feel.

297
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And then with us, the way it evolved with the

298
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foot drums that we play or that I play, that

299
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whole that whole thing gives us a real retro vibe

300
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and we just have kind of our own thing going

301
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on due to the limitations.

302
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Speaker 2: M Yeah, and that's something that too, I think is

303
00:19:46,279 --> 00:19:49,359
really interesting because it's so it's just the two of you, right,

304
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There's there's no one else, or maybe you have guest musicians,

305
00:19:52,599 --> 00:19:55,960
join you sometimes. I don't know, but New Age Photographs

306
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as an entity is just the two of you.

307
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Speaker 11: Correct, Yeah, it's it's pretty much been me and Randy

308
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since we started it up. I play the foot drums

309
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to round it out. And then this last record has

310
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harmonica Ron Ron the Hartman Perkins. He's featured on the

311
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whole thing. He featured on our first record, but we

312
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put him on this whole thing because they had a

313
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real good blues rock vibe. This this whole new album

314
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called The Old Ball and Chain. That one's that one

315
00:20:30,759 --> 00:20:34,680
was all kind of new new material. Yes, the old one,

316
00:20:34,759 --> 00:20:37,079
the old record or the first record we put out,

317
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had a mix of some new stuff and some old stuff.

318
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But the latest record, the Old Ball and Chain, it

319
00:20:44,640 --> 00:20:48,480
it really has evolved to where that's kind of our vibe.

320
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That's kind of what we sound like if we're in

321
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a room, and we just tried to capture what we

322
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sound like in a room.

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Speaker 3: Okay.

324
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Speaker 2: You know what else I like too is listening to

325
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the studio tracks so it sounds like a full band.

326
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And again, I know you're both multi instrumentalists, and obviously

327
00:21:05,680 --> 00:21:07,440
you know when you've got the foot drum going, you

328
00:21:07,440 --> 00:21:10,319
can you can do that while while playing something else.

329
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Speaker 3: But but it's.

330
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Speaker 2: Interesting that are people ever surprised when they listen to

331
00:21:14,480 --> 00:21:15,920
your music and they don't know anything else about you

332
00:21:15,960 --> 00:21:17,319
and then they find out it's just the two of you?

333
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Speaker 3: Does that surprise people?

334
00:21:18,599 --> 00:21:20,240
Speaker 2: Or maybe they go see you live and they're surprised

335
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at how big a sound you're able to create with

336
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just the two of you.

337
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Speaker 3: It is, it is.

338
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Speaker 11: It is an interesting thing because it's a kind of

339
00:21:30,039 --> 00:21:33,519
hard to market because there are places who say duo oh,

340
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and they think this acoustic duo is going to show up,

341
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and we're like, well, we can do that if that's

342
00:21:38,880 --> 00:21:40,599
what you guys want for the evening, But if you

343
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really want a rock band, we can really kick it off. Yeah, exactly. Yeah,

344
00:21:45,920 --> 00:21:50,160
It's definitely been something where a lot of people are

345
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surprised when they hear us. They're just, oh my gosh,

346
00:21:54,000 --> 00:21:56,319
you guys are amazing. How do you even do that?

347
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Because it's just the two of you. But it's this

348
00:22:00,440 --> 00:22:02,880
weird little custom foot drum that I came up with

349
00:22:03,039 --> 00:22:04,920
that has a little high hat on top of it,

350
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and because of the symbol and the back beat of

351
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the bass drum and the snare. I mean, the only

352
00:22:13,160 --> 00:22:16,640
thing you're missing is the fills from the Toms, and

353
00:22:17,079 --> 00:22:20,799
we don't do anything too complicated. It's all straight back beat.

354
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It's all blues, right right.

355
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Speaker 2: I remember the first time I ever saw somebody do

356
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something like that live, and it was just Jesus was

357
00:22:29,759 --> 00:22:31,920
more than twenty years ago, but John Hyatt was on

358
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tour and he was in the area and I went

359
00:22:34,559 --> 00:22:37,599
to see him at the For people in area who

360
00:22:37,640 --> 00:22:42,039
know the Capitol Theater or Capitol Center, I think back

361
00:22:42,039 --> 00:22:43,400
then it was the Capitol Theater and now it's the

362
00:22:43,400 --> 00:22:45,480
Capitol Center. Maybe it's the other way around, but anyway,

363
00:22:45,559 --> 00:22:47,599
he was doing this. It was a solo acoustic thing.

364
00:22:47,920 --> 00:22:50,720
But he comes out and he's, you know, he's As

365
00:22:50,720 --> 00:22:52,920
he starts to play, it was a surprise. He starts

366
00:22:52,960 --> 00:22:55,839
stapping his foot and it was obvious that I didn't

367
00:22:55,839 --> 00:22:57,400
see a drama on the stage. It was like it

368
00:22:57,440 --> 00:22:59,599
was like he just had a mic like on the

369
00:22:59,640 --> 00:23:02,960
floor there and he's just tappened. But it sounded really good,

370
00:23:03,160 --> 00:23:06,680
and it you know, and just that one little thing

371
00:23:07,839 --> 00:23:11,640
changes everything, like it's it's like I remember thinking he

372
00:23:11,640 --> 00:23:13,559
opened I don't remember what song he opened with, but

373
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which I'm embarrassed about because I love John Hyatt. But

374
00:23:16,920 --> 00:23:18,839
although he played everything that night that I really wanted

375
00:23:18,839 --> 00:23:20,680
to hear, which was great. But I just remember he

376
00:23:20,720 --> 00:23:22,319
starts playing and he's strung, and I'm thinking it's just

377
00:23:22,319 --> 00:23:24,279
gonna be him and his guitar, and then he starts

378
00:23:24,319 --> 00:23:27,079
tapping and it just changed the whole vibe. Like it

379
00:23:27,119 --> 00:23:29,920
was this energy burst immediately in the room and it

380
00:23:30,000 --> 00:23:32,720
was so cool. But that must be that must be

381
00:23:32,799 --> 00:23:34,319
one of the most fun things about doing what you

382
00:23:34,359 --> 00:23:36,960
do right when you're playing and people are surprised and

383
00:23:37,000 --> 00:23:39,319
you can see they're surprised, or they come up to

384
00:23:39,359 --> 00:23:42,599
you afterward and say, wow, that was that was more

385
00:23:42,680 --> 00:23:43,480
than I expected.

386
00:23:43,519 --> 00:23:45,559
Speaker 3: That was great. You know, that must be really cool

387
00:23:45,599 --> 00:23:46,119
for both of you.

388
00:23:47,319 --> 00:23:50,759
Speaker 11: Yeah. I told my little brother. I said, uh, I

389
00:23:50,799 --> 00:23:52,960
think we've been we've been looking around for a drummer,

390
00:23:53,000 --> 00:23:55,519
and he goes, you know what, I'm almost more impressed

391
00:23:55,519 --> 00:23:58,480
when I see you just doing what you're doing and

392
00:23:58,519 --> 00:24:01,359
it's just the two of you, and I'm like, yeah,

393
00:24:01,440 --> 00:24:04,440
that you're You're right, I guess as far as a

394
00:24:04,559 --> 00:24:09,440
musician seeing see another musicians play, yeah, And also, well,

395
00:24:09,480 --> 00:24:11,799
basically we have to rely on each other.

396
00:24:11,880 --> 00:24:14,119
Speaker 12: We show up for the gigs, you know, we have to.

397
00:24:14,440 --> 00:24:15,039
We're married.

398
00:24:15,279 --> 00:24:18,000
Speaker 3: So yeah, right, it's hard.

399
00:24:17,920 --> 00:24:23,160
Speaker 11: To keep a drummer around, right, right, right, Randy. Actually,

400
00:24:23,440 --> 00:24:28,039
she uh wasn't uh wanting to do a She didn't

401
00:24:28,039 --> 00:24:31,039
have aspirations to be a musician. It was just something

402
00:24:31,119 --> 00:24:33,359
kind of like my little brother and I started the band,

403
00:24:33,880 --> 00:24:36,559
but then before we even got anything going, he moved

404
00:24:36,640 --> 00:24:42,119
up to Washington, Okay, and uh, Randy was like, well, uh,

405
00:24:42,160 --> 00:24:44,079
we got the drum set. Do you wanna do you

406
00:24:44,119 --> 00:24:47,240
wanna me to learn how to play drums? And I said, well,

407
00:24:47,359 --> 00:24:49,200
we have a bass sitting around. You want to just

408
00:24:49,279 --> 00:24:53,359
play single note based stuff? And she was like, well yeah,

409
00:24:53,400 --> 00:24:55,480
I could do that. And then I showed her a

410
00:24:55,480 --> 00:24:58,559
blues scale and now you can't stop her. She writes

411
00:24:58,559 --> 00:25:01,440
her own bass parts. Yeah, just based off of the

412
00:25:01,599 --> 00:25:04,599
blues rock scale that I showed her. Yeah, and uh,

413
00:25:04,880 --> 00:25:08,240
we played cover stuff. She's like, oh, I'm not playing

414
00:25:08,319 --> 00:25:10,160
roots and fifts. I'm going to just play this. I'm

415
00:25:10,200 --> 00:25:12,720
going to jam out and feel my way around it

416
00:25:12,759 --> 00:25:15,359
and then write their own bass parts for everything.

417
00:25:15,720 --> 00:25:18,720
Speaker 2: That's cool, that's awesome. Well, Randy, as a bass player myself,

418
00:25:18,759 --> 00:25:21,359
I respect that. That's really good, that's really cool.

419
00:25:21,240 --> 00:25:26,039
Speaker 11: Awesome, And then yeah, we also we met doing karaoke,

420
00:25:26,359 --> 00:25:29,279
so yeah, she actually had to kind of be pushed

421
00:25:29,279 --> 00:25:33,720
into singing a little bit, oh because uh when we

422
00:25:33,759 --> 00:25:37,200
first when we did our first record, it was definitely

423
00:25:37,240 --> 00:25:40,400
a lot of well all just singing backup and I

424
00:25:40,440 --> 00:25:43,759
was like, no, no, you can do full stuff. And

425
00:25:44,079 --> 00:25:46,440
I think it was my mom who was like, make

426
00:25:46,519 --> 00:25:47,519
her do more songs.

427
00:25:48,039 --> 00:25:52,039
Speaker 12: Yeah, So definitely her on the album next time.

428
00:25:53,880 --> 00:25:54,400
Speaker 3: Definitely.

429
00:25:54,440 --> 00:25:57,640
Speaker 11: When we came up to the latest record, we actually

430
00:25:58,920 --> 00:26:02,799
we wrote a few of the songs together and tell

431
00:26:02,839 --> 00:26:05,799
them tell him how you came up with with the

432
00:26:05,799 --> 00:26:07,240
the main songs that you wrote.

433
00:26:07,960 --> 00:26:10,279
Speaker 12: Oh, well, two of them. I woke up late night

434
00:26:11,000 --> 00:26:13,960
and it was like half an hour forty five minutes.

435
00:26:13,960 --> 00:26:16,359
I had both of them mostly written down now, not music,

436
00:26:16,559 --> 00:26:18,640
just lyrics, and so I took him to him.

437
00:26:18,640 --> 00:26:22,559
Speaker 11: I was like, put music to this, please, yeah, yeah, yeah,

438
00:26:22,680 --> 00:26:26,759
And literally the songs pretty much wrote themselves. She came

439
00:26:26,799 --> 00:26:29,839
to me with lyrics. The lyrics were in a structure

440
00:26:29,839 --> 00:26:32,680
where it was like, oh, okay, this is perfect. And

441
00:26:32,720 --> 00:26:36,480
then of course there's only one song on the record

442
00:26:36,559 --> 00:26:40,160
that she wrote that she didn't sing. That had to

443
00:26:40,160 --> 00:26:44,880
do with times constraints. Okay, So mostly the stuff she

444
00:26:44,920 --> 00:26:46,319
wrote she sings now.

445
00:26:46,359 --> 00:26:50,559
Speaker 2: Yeah, excellent, excellent, and it's nice to you know, you

446
00:26:50,559 --> 00:26:52,920
know you've really got something when it comes together easily

447
00:26:53,039 --> 00:26:54,759
like that, right, you know, when you don't have to

448
00:26:54,960 --> 00:26:57,400
whant to I mean, you know people talk about you know,

449
00:26:57,440 --> 00:26:59,799
it's a lot of work writing songs and everything and

450
00:27:00,640 --> 00:27:02,640
get in recorded the way you want them, and it

451
00:27:02,759 --> 00:27:04,559
is a lot of work, right, But when when you

452
00:27:04,640 --> 00:27:08,000
have something that you know, okay, here's the lyrics, Oh, okay,

453
00:27:08,160 --> 00:27:10,000
I can work with that, here's here's an idea for

454
00:27:10,039 --> 00:27:12,039
the melody and everything, when it comes together fast, then

455
00:27:12,079 --> 00:27:14,160
you know you've really you've really got something when it's

456
00:27:14,200 --> 00:27:16,400
when it's easy, you know what I mean. So I'm

457
00:27:16,440 --> 00:27:17,000
sure that was.

458
00:27:17,079 --> 00:27:22,279
Speaker 11: Yeah, Yeah, for sure. Almost all the best songs that

459
00:27:22,279 --> 00:27:26,640
that I think we've done just came came to us.

460
00:27:26,839 --> 00:27:30,319
They weren't really difficult to write. We only struggled with

461
00:27:30,480 --> 00:27:36,599
uh with uh Bruce, with our comedy song Bruce. Yeah,

462
00:27:36,640 --> 00:27:39,039
And that's because Randy came to me with the concept

463
00:27:39,119 --> 00:27:42,039
in most of the lyrics, and then we tried to

464
00:27:42,039 --> 00:27:45,279
fish it out and make it funny with that one.

465
00:27:45,680 --> 00:27:50,359
But my my songwriting method is literally come up with

466
00:27:50,400 --> 00:27:53,559
the chord structure and then ones I come up with

467
00:27:53,599 --> 00:27:56,759
the chord structure, like the stuff just drops out of

468
00:27:56,759 --> 00:28:00,920
the ether. It's I sometimes like those are even my songs.

469
00:28:00,960 --> 00:28:04,599
I'm just like the caretaker of them because they're just

470
00:28:04,720 --> 00:28:06,960
they just come out of nowhere, and you know it's

471
00:28:06,960 --> 00:28:13,680
probably a subconscious thing, sure, but but nothing's too I've

472
00:28:13,720 --> 00:28:16,839
been I've been writing songs since I was fourteen, and

473
00:28:16,920 --> 00:28:21,200
so it's like, oh, here's the basic structure, verse coorse verse,

474
00:28:21,279 --> 00:28:24,039
let's throw it in a solo here, Let's make sure

475
00:28:24,039 --> 00:28:27,240
we come up with an intro an outro if we can.

476
00:28:28,359 --> 00:28:32,880
But other than that, the song structure is the framework,

477
00:28:33,319 --> 00:28:36,119
and then the lyrics, if they're difficult to work on,

478
00:28:36,519 --> 00:28:38,039
those usually don't make the records.

479
00:28:38,359 --> 00:28:42,319
Speaker 3: Okay, that makes sense, Yeah, makes sense.

480
00:28:43,359 --> 00:28:48,319
Speaker 2: I'm really curious too about recording because you know, sometimes,

481
00:28:49,680 --> 00:28:54,000
at least this is my observation, sometimes you'll hear an

482
00:28:54,160 --> 00:28:58,000
artist who's doing something like what you're doing, or well,

483
00:28:58,279 --> 00:29:01,079
like I said, nobody sounds exactly like you, but but

484
00:29:01,079 --> 00:29:03,279
but kind of a kind of a similar vibe where

485
00:29:03,839 --> 00:29:06,079
you know you wish. You don't want it to be

486
00:29:06,160 --> 00:29:09,319
too you don't want the production to be too clean,

487
00:29:09,519 --> 00:29:13,279
you don't want it to be too slick. And sometimes

488
00:29:13,880 --> 00:29:17,759
you might hear something that you know, you wish the

489
00:29:17,799 --> 00:29:20,559
production was a little grittier, you know. But when I

490
00:29:20,599 --> 00:29:24,839
listen to these tracks, I think the production matches what

491
00:29:24,880 --> 00:29:26,920
you're doing in the sense that the production is great.

492
00:29:27,039 --> 00:29:30,160
It's it's totally pro It sounds amazing, the mix is

493
00:29:30,160 --> 00:29:33,279
great and everything, but it's not but it's not overly slick,

494
00:29:33,400 --> 00:29:35,519
which is what I hear a lot of sometimes where

495
00:29:35,640 --> 00:29:38,880
where it's like, Okay, this is too slick for what

496
00:29:39,000 --> 00:29:42,519
this vibe and the sound is that this band is making.

497
00:29:43,000 --> 00:29:44,799
Speaker 3: But I love the production.

498
00:29:44,640 --> 00:29:49,000
Speaker 2: On on this on this album, can you tell me

499
00:29:49,000 --> 00:29:52,000
about that? How did you record Old Ball and Chain

500
00:29:52,039 --> 00:29:56,119
that's the newest one? Yeah, yeah, how did you record that?

501
00:29:57,079 --> 00:29:59,119
Speaker 12: So, once we had what tracks who were going to

502
00:29:59,160 --> 00:30:01,759
put on the album, we actually recorded here at the house.

503
00:30:02,799 --> 00:30:05,079
We invited Ron over for a couple of days.

504
00:30:05,279 --> 00:30:05,440
Speaker 17: Uh.

505
00:30:05,480 --> 00:30:07,480
Speaker 12: He gave him some input on what he wanted to

506
00:30:07,519 --> 00:30:10,720
do on each track, and then we recorded him probably

507
00:30:11,759 --> 00:30:18,319
three or four takes each probably, and then after that

508
00:30:18,400 --> 00:30:22,240
we took them to a local place way back recording

509
00:30:22,920 --> 00:30:27,200
and they we listened with them and kind of you know,

510
00:30:27,599 --> 00:30:29,759
we you know, we told them, you know, we're recording

511
00:30:29,799 --> 00:30:32,400
them at home. We want to have that kind of

512
00:30:32,519 --> 00:30:35,079
live feel, you know, so when you listen to him,

513
00:30:35,119 --> 00:30:38,000
you know it's what you're gonna get basically, you know,

514
00:30:38,519 --> 00:30:40,720
nothing to like you said, overproduced or anything like that.

515
00:30:40,960 --> 00:30:44,119
So uh yeah, and then they you know, put a

516
00:30:44,119 --> 00:30:46,440
little extra on it, which you know, it worked out

517
00:30:46,440 --> 00:30:46,880
pretty well.

518
00:30:47,000 --> 00:30:51,200
Speaker 11: Yeah, uh definitely. When when we were recording this one,

519
00:30:51,720 --> 00:30:53,920
we knew we were kind of setting up this tour

520
00:30:53,960 --> 00:30:57,079
and it was a big tour, and uh, in order

521
00:30:57,160 --> 00:30:59,440
to do that, you know, you gotta you gotta kind

522
00:30:59,440 --> 00:31:03,000
of give people a sound. You don't want to overproduce it.

523
00:31:03,559 --> 00:31:06,000
I wanted it to sound just like we do if

524
00:31:06,000 --> 00:31:07,960
we're sitting in a room together. We don't play to

525
00:31:08,039 --> 00:31:12,039
a click track ever, and so it was like, this

526
00:31:12,079 --> 00:31:15,039
is what we sound like, this is our vibe. We

527
00:31:15,079 --> 00:31:17,200
want to be able to sell ourselves, like, hey, if

528
00:31:17,279 --> 00:31:19,640
you come to see us, this is what you're going

529
00:31:19,720 --> 00:31:21,599
to get. Is you're going to get this. If we

530
00:31:21,759 --> 00:31:24,720
if we added too many overdubs or we did too

531
00:31:24,839 --> 00:31:28,160
much fancy production, on it. It just wouldn't sound like

532
00:31:28,440 --> 00:31:32,200
us in a room, right, And I mean not to

533
00:31:32,200 --> 00:31:34,400
toot my own horn, but I think we we sound

534
00:31:34,480 --> 00:31:37,519
really good. We've been working on this a while and

535
00:31:38,119 --> 00:31:40,480
it's evolved to the point where it's some really good

536
00:31:40,480 --> 00:31:44,759
blues rock and we've got a good dynamic. We we

537
00:31:44,759 --> 00:31:48,039
we're comfortable on stage now. It's just quite a while

538
00:31:48,079 --> 00:31:50,519
to get comfortable on stage. And now that's where we

539
00:31:50,559 --> 00:31:51,920
work out all our marital issues.

540
00:31:52,480 --> 00:31:54,440
Speaker 3: There you go, oh, that's perfect.

541
00:31:58,000 --> 00:32:01,079
Speaker 11: On the whole tour, I was side seat driving Randy

542
00:32:01,599 --> 00:32:06,039
because I'm a control freak, and so it became a

543
00:32:06,079 --> 00:32:08,440
thing where like one day I was like, I just

544
00:32:08,440 --> 00:32:10,119
don't know how you put up with all my sides

545
00:32:10,160 --> 00:32:13,359
seet driving and she was like, oh, yeah, well you know,

546
00:32:13,640 --> 00:32:16,680
and it just became like a thing where that's where

547
00:32:16,680 --> 00:32:17,799
we work out all our issues.

548
00:32:17,799 --> 00:32:18,880
Speaker 3: We just do it in front of people.

549
00:32:19,000 --> 00:32:21,200
Speaker 12: People just kind of love the dynamic of your husband

550
00:32:21,279 --> 00:32:22,640
versus wife type of thing.

551
00:32:22,720 --> 00:32:22,920
Speaker 11: You know.

552
00:32:23,200 --> 00:32:27,480
Speaker 12: Yeah, usually on my side, they're always on your side.

553
00:32:30,240 --> 00:32:32,319
Speaker 2: They should take the bass player's side if you ask me.

554
00:32:32,680 --> 00:32:35,279
There you go, I support that. I support that.

555
00:32:36,720 --> 00:32:39,279
Speaker 11: Well, well, it helps me too, because I got to

556
00:32:39,359 --> 00:32:43,680
keep my ego in check, right because you know, I'm

557
00:32:43,759 --> 00:32:46,160
just doing all this stuff over here, and then I

558
00:32:46,160 --> 00:32:49,039
think it's the Matt Show. But it's it's not the

559
00:32:49,039 --> 00:32:50,920
Matt Show. It's the Matt and Randy Show.

560
00:32:51,160 --> 00:32:51,279
Speaker 3: Right.

561
00:32:51,359 --> 00:32:53,960
Speaker 12: Well, I mean it's crazy because you know, and I'll think,

562
00:32:55,400 --> 00:33:00,759
you know, he he's lead, singing, guitar and drums. You know,

563
00:33:00,799 --> 00:33:04,640
I'm we're playing and sometimes singing. So I'm like, you know,

564
00:33:05,440 --> 00:33:06,759
but yeah, I do have to keep him in check.

565
00:33:06,960 --> 00:33:12,279
Speaker 2: Yeah. Oh, by the way, the obvious question, where does

566
00:33:12,279 --> 00:33:15,359
the name come from? New age photograph?

567
00:33:15,480 --> 00:33:18,519
Speaker 11: Oh man, So me and my little brother worked for

568
00:33:18,640 --> 00:33:21,640
quite a while trying to figure out how to how

569
00:33:21,680 --> 00:33:25,680
to give the vibe because both of us like old music,

570
00:33:26,160 --> 00:33:29,200
both of us like new music, and we'll cover everything

571
00:33:29,319 --> 00:33:33,720
from old lead belly stuff from the nineteen thirties, Howling

572
00:33:33,799 --> 00:33:36,880
Wolf's stuff from the thirties and forties, all the way

573
00:33:36,960 --> 00:33:42,920
up to uh we were working on flowers from uh

574
00:33:43,559 --> 00:33:45,720
that some What's is that the newest song?

575
00:33:45,759 --> 00:33:46,000
Speaker 18: We do?

576
00:33:46,759 --> 00:33:52,279
Speaker 11: No stuff new? Yeah, K Jellison, Yeah, We've just got

577
00:33:52,279 --> 00:33:56,880
stuff that goes all through. We're nineties kids, eighties nineties kids,

578
00:33:57,200 --> 00:33:59,279
so we've got a bunch of eighties, nineties stuff that

579
00:33:59,319 --> 00:34:02,480
we'll do and then all the way up to modern stuff.

580
00:34:02,680 --> 00:34:05,039
And so we're trying to say, how how do you

581
00:34:05,119 --> 00:34:09,199
say that we're new but we also have love old stuff,

582
00:34:09,960 --> 00:34:15,159
and the phonograph part is the old part, and then

583
00:34:15,239 --> 00:34:19,320
the new age is like, well, you know, hippie crystals

584
00:34:19,360 --> 00:34:22,119
and stuff. So we were like, how do we associate

585
00:34:22,239 --> 00:34:25,400
the two that sounds that sounds right and the vibe

586
00:34:26,039 --> 00:34:27,960
with just the alliteration.

587
00:34:28,159 --> 00:34:31,079
Speaker 12: Yeah, and then also with just just the two of

588
00:34:31,159 --> 00:34:34,400
us and having our you know, being a kind of

589
00:34:34,440 --> 00:34:37,119
broke down sound. You know, we try to say we

590
00:34:37,159 --> 00:34:38,039
take songs back to.

591
00:34:38,039 --> 00:34:39,079
Speaker 11: Their bluesy roots.

592
00:34:39,119 --> 00:34:40,920
Speaker 12: So when we're playing some of these songs, it's not

593
00:34:41,000 --> 00:34:43,599
exactly how you're you know, cover songs, not how you're

594
00:34:43,599 --> 00:34:46,719
going to hear them on the radio. So we're trying

595
00:34:46,719 --> 00:34:48,320
to you know, we're trying to figure out that point,

596
00:34:48,559 --> 00:34:51,760
you know, what matches that vibe as well, so you know,

597
00:34:52,559 --> 00:34:55,760
hopefully people have an idea well, okay, so there's something

598
00:34:55,840 --> 00:34:59,199
new and old going on here, and maybe peaks are interesting.

599
00:34:59,440 --> 00:35:01,880
Speaker 11: We never do a straight cover song. We do a

600
00:35:01,920 --> 00:35:04,320
cover song. However we play a cover.

601
00:35:04,119 --> 00:35:07,159
Speaker 3: Song, yeah, yeah, So it never comes out.

602
00:35:07,079 --> 00:35:11,000
Speaker 11: Quite like, oh, play me that that Hank Williams tune,

603
00:35:11,000 --> 00:35:14,400
and it's like, oh, so, but we can do that,

604
00:35:14,599 --> 00:35:17,920
but it's not gonna be as country as you want it.

605
00:35:18,280 --> 00:35:20,679
Speaker 2: Do you do you ever run into a situation like

606
00:35:20,679 --> 00:35:23,880
does anyone ever complain you like, oh, you played that wrong?

607
00:35:24,039 --> 00:35:25,360
Speaker 3: Or have you ever run into that?

608
00:35:26,840 --> 00:35:30,079
Speaker 11: No, actually we haven't. That's we haven't really had anyone

609
00:35:30,159 --> 00:35:33,039
complain that we played anything wrong. And I think that

610
00:35:33,400 --> 00:35:36,079
is when we do cover songs, we just don't play

611
00:35:36,079 --> 00:35:38,920
any of them right. There you go, they're all They're

612
00:35:38,960 --> 00:35:41,400
all the way we do it right. We were talking

613
00:35:41,400 --> 00:35:43,920
the other day about a CCR song that we did

614
00:35:43,960 --> 00:35:47,239
and we're like, man, when we hear it on the radio,

615
00:35:47,320 --> 00:35:50,760
it's like, man, that's so slow. Now to hear that song,

616
00:35:51,840 --> 00:35:54,760
we play it fast, and it's just how like I

617
00:35:55,119 --> 00:35:57,800
used to bust around a lot, so a lot of

618
00:35:57,840 --> 00:36:01,119
these songs I wouldn't like listen the radio version and

619
00:36:01,119 --> 00:36:03,559
then play it. I was just looking at the chord

620
00:36:03,719 --> 00:36:06,559
chart trying to flip to the next song and play

621
00:36:06,599 --> 00:36:08,559
the song. And I grew up with a lot of

622
00:36:08,559 --> 00:36:12,840
these songs that we play, and I would just play

623
00:36:12,880 --> 00:36:15,320
them that way on the side of the road and

624
00:36:15,360 --> 00:36:18,159
then they I brought him to Randy and I was like, oh,

625
00:36:18,239 --> 00:36:22,599
so I got this what was it? The Tom Waits?

626
00:36:22,639 --> 00:36:26,519
I got this Tom Waits song and we play it

627
00:36:26,639 --> 00:36:28,960
like this, and then we play it and then she

628
00:36:29,079 --> 00:36:32,119
hears it on the radio and she's like, nothing like

629
00:36:32,639 --> 00:36:34,360
how we play it, and I was like, well, that's

630
00:36:34,400 --> 00:36:35,199
just how I play it.

631
00:36:35,239 --> 00:36:37,639
Speaker 3: I get. Yeah. See, I think that's cool.

632
00:36:37,760 --> 00:36:40,519
Speaker 2: I think that's much more interesting anyway, because for me,

633
00:36:40,679 --> 00:36:42,400
I know a lot of people don't feel this way.

634
00:36:42,400 --> 00:36:44,920
A lot of people like if they're if they're somewhere

635
00:36:44,960 --> 00:36:47,199
and they hear a band playing a cover, they want

636
00:36:47,199 --> 00:36:49,719
to hear it, especially if it's a cover band quote unquote,

637
00:36:49,880 --> 00:36:52,480
and that's like their mission, so to speak.

638
00:36:52,599 --> 00:36:52,800
Speaker 3: You know.

639
00:36:52,840 --> 00:36:56,639
Speaker 2: They want to hear things exactly the way the original sounds.

640
00:36:56,679 --> 00:36:58,239
And it's like, to me, it's always been, well, what's

641
00:36:58,320 --> 00:37:01,159
the point, Like, I already know how the original sounds.

642
00:37:01,320 --> 00:37:03,599
I can listen to the original. I can go, you know,

643
00:37:04,119 --> 00:37:06,679
listen to the radio or listen to it online. If

644
00:37:06,719 --> 00:37:08,440
I really want to hear the original, I want to

645
00:37:08,480 --> 00:37:12,440
hear your interpretation of it, you know, because otherwise otherwise

646
00:37:12,480 --> 00:37:14,039
what's the point. I know, a lot of people don't

647
00:37:14,039 --> 00:37:17,280
feel that way, but that's always been my My feeling

648
00:37:17,440 --> 00:37:20,039
is I want to hear your interpretation. I want to

649
00:37:20,079 --> 00:37:23,880
hear how it sounds from your perspective, and I just

650
00:37:23,920 --> 00:37:25,840
think that's so much more interesting.

651
00:37:26,840 --> 00:37:29,679
Speaker 11: Yeah, I never I never would have heard of Holan Wolf.

652
00:37:29,679 --> 00:37:32,039
It wasn't if it wasn't for the Doors playing back

653
00:37:32,079 --> 00:37:32,519
Door Man.

654
00:37:32,679 --> 00:37:33,119
Speaker 3: Good point.

655
00:37:33,159 --> 00:37:35,760
Speaker 11: And if you've ever heard the Doors play back Door

656
00:37:35,840 --> 00:37:39,880
Man and then Howland Wolf's back Door Man, they're completely different.

657
00:37:39,519 --> 00:37:40,320
Speaker 3: Songs, right right?

658
00:37:40,679 --> 00:37:44,559
Speaker 11: You say Bob Dylan's version of All Along the watch Tower, Yep.

659
00:37:44,639 --> 00:37:47,159
I feel like I showed that to Randy the other

660
00:37:47,199 --> 00:37:51,280
day and she's like, oh, I like that's cool. But

661
00:37:51,360 --> 00:37:58,239
that harmonica, you know? Okay, Yeah, definitely the interpretation of

662
00:37:58,280 --> 00:38:01,639
that song is definitely better than the original. But at

663
00:38:01,679 --> 00:38:04,360
the same time, if you're a huge Bob Dylan fan,

664
00:38:04,880 --> 00:38:08,079
you don't want to hear Knocking on Heaven's Door by

665
00:38:09,039 --> 00:38:12,079
Guns n' Roses. You want to hear Bob sing knocking

666
00:38:12,119 --> 00:38:15,800
on Heaven's Door. So it just depends on what you're

667
00:38:15,840 --> 00:38:19,639
in for for the night. A lot of people, especially

668
00:38:19,679 --> 00:38:23,239
the places we go, uh, they just want to have

669
00:38:23,280 --> 00:38:25,280
a good time, and so that was kind of the

670
00:38:25,360 --> 00:38:29,119
thing we tried to evolve to be was first of all,

671
00:38:29,159 --> 00:38:31,679
not to just do cover songs. We got our own stuff,

672
00:38:32,199 --> 00:38:35,079
And so if people aren't coming up just to see

673
00:38:35,079 --> 00:38:37,320
a cover band, you know, like if we were called

674
00:38:37,320 --> 00:38:40,039
the Petties or something and all we played was Tom Petty,

675
00:38:40,239 --> 00:38:42,800
then yeah, you'd want it to sound like Tom Petty.

676
00:38:43,079 --> 00:38:45,840
But when when you're coming to see us, we play

677
00:38:45,840 --> 00:38:49,800
original stuff. So then when we pepper in the the

678
00:38:49,840 --> 00:38:53,280
cover songs, it's like we give them our own little twists.

679
00:38:53,760 --> 00:38:57,159
Speaker 3: Yeah definitely, yeah, yeah, no, that's that's excellent.

680
00:38:57,559 --> 00:39:01,039
Speaker 2: So what's so what's kind of the future trajectory? I mean,

681
00:39:01,039 --> 00:39:03,199
do you have do you have more things that you're

682
00:39:03,199 --> 00:39:05,400
gonna be recording or the new album hasn't been out

683
00:39:05,440 --> 00:39:07,679
for that long, right, so you're probably focused on on

684
00:39:07,760 --> 00:39:11,159
promoting the current album largely, I would imagine, right.

685
00:39:12,000 --> 00:39:15,880
Speaker 11: Definitely go pick up the new album. No, watch the

686
00:39:15,920 --> 00:39:21,199
new album. I'm sorry, you'll watch the latest video on YouTube.

687
00:39:21,480 --> 00:39:23,559
Speaker 3: Oh yeah, we have a.

688
00:39:26,920 --> 00:39:31,239
Speaker 11: We did our our album release party. Okay, we recorded

689
00:39:31,519 --> 00:39:34,719
a video there that we just got edited after we

690
00:39:34,840 --> 00:39:38,199
got back from the well, after we had to come

691
00:39:38,199 --> 00:39:41,320
back from the tour. Yeah, we threw that up and

692
00:39:41,639 --> 00:39:46,719
uh so messing Around is one of the I would

693
00:39:46,760 --> 00:39:50,079
call it a single if we had singles. Yeah, off

694
00:39:50,159 --> 00:39:53,280
that record and we made a video for that. Go

695
00:39:53,400 --> 00:39:56,679
check that out. There's a Wolf Allan at My Doors

696
00:39:56,719 --> 00:39:59,440
another one that we did from the first record that

697
00:39:59,480 --> 00:40:02,199
we had a little video and we produced all the

698
00:40:02,280 --> 00:40:07,079
videos ourselves. It's the age where you can shoot your

699
00:40:07,119 --> 00:40:11,039
own stuff yeh, super cheap and edit it yourself, and

700
00:40:11,239 --> 00:40:15,559
so they aren't high production thing. But we're just trying

701
00:40:15,559 --> 00:40:18,760
to push the latest record. As soon as we get

702
00:40:18,800 --> 00:40:22,280
the van fixed, we're gonna see what we can salvage

703
00:40:23,039 --> 00:40:26,840
from this tour and start setting up for the next tour.

704
00:40:27,960 --> 00:40:30,000
We're just gonna try to keep going as much as

705
00:40:30,039 --> 00:40:33,400
we can while we got a little momentum going. And

706
00:40:34,280 --> 00:40:38,559
we do have a bunch of songs that either are

707
00:40:38,599 --> 00:40:42,159
sitting on the back burner and we have them written

708
00:40:42,880 --> 00:40:47,960
or when we talk about doing another album, we've been

709
00:40:48,000 --> 00:40:51,519
talking about, well, you know, if we're gonna write some

710
00:40:51,559 --> 00:40:54,480
new stuff, then we might work together a little bit

711
00:40:54,519 --> 00:40:57,239
on some new stuff. But all that stuff just kind

712
00:40:57,280 --> 00:41:01,039
of evolves on its own. When we came up with

713
00:41:01,119 --> 00:41:04,599
the first record, We put a lot of singer songwriter

714
00:41:04,719 --> 00:41:07,920
stuff that I had written before on there, but then

715
00:41:07,960 --> 00:41:11,039
there was stuff like call Me the Wolf. That was

716
00:41:11,119 --> 00:41:13,719
one where I was just while we were even talking

717
00:41:13,719 --> 00:41:16,960
about writing the record, I came up with the baseline

718
00:41:17,719 --> 00:41:20,519
and wrote all the lyrics down, and then that song

719
00:41:20,719 --> 00:41:23,119
just kind of evolved on its own while we were

720
00:41:23,159 --> 00:41:26,719
writing that record. Okay, so we gave ourselves. We said

721
00:41:26,920 --> 00:41:29,159
we're going to tour on this one for two years.

722
00:41:29,320 --> 00:41:32,079
So next year we'll be the second year, and we'll

723
00:41:32,119 --> 00:41:35,679
start working on the record next year for whatever we're

724
00:41:35,679 --> 00:41:37,639
going to release in twenty twenty seven.

725
00:41:37,840 --> 00:41:42,920
Speaker 2: Yeah, So okay, okay, very good, very good. Well, in

726
00:41:42,960 --> 00:41:45,239
a moment, we're going to play that track messing Around.

727
00:41:45,239 --> 00:41:47,159
We'll play that at the end of our conversation. I

728
00:41:47,159 --> 00:41:49,320
think that'll be and I might even sneak in another

729
00:41:49,360 --> 00:41:52,880
one after that because I love what you're doing, really

730
00:41:52,880 --> 00:41:55,840
really good stuff. So Matt and Randy, thank you both

731
00:41:55,880 --> 00:41:58,719
so much before we let you go. So what should

732
00:41:58,760 --> 00:42:01,440
people know about where to find you online? To keep

733
00:42:01,519 --> 00:42:04,079
up with everything that you're doing, everything, all things New

734
00:42:04,119 --> 00:42:06,360
age phonograph? Where is the best place to go?

735
00:42:07,760 --> 00:42:11,599
Speaker 12: Okay, So we're very active on Facebook and Instagram, you know,

736
00:42:12,000 --> 00:42:14,280
a new ageonograph. We keep it simple, so if you

737
00:42:14,320 --> 00:42:17,559
search for Newinograph, you'll find us. H YouTube as well.

738
00:42:18,599 --> 00:42:21,280
We always joke we have not really a big presence

739
00:42:21,320 --> 00:42:24,840
on TikTok. We are on there, and then we're on

740
00:42:25,039 --> 00:42:28,280
all streaming you know, Spotify, Apple Music, all that kind

741
00:42:28,280 --> 00:42:31,440
of stuff as well. We have band Camp. We're kind

742
00:42:31,440 --> 00:42:32,320
of all over the place.

743
00:42:32,400 --> 00:42:35,800
Speaker 11: If you need to be directed anywhere, new Age phonograph

744
00:42:35,880 --> 00:42:39,199
dot Com has has all the links to everywhere that

745
00:42:39,280 --> 00:42:42,679
you want to go. And as long as people are

746
00:42:42,679 --> 00:42:45,840
looking after us and trying to find us, we're pretty

747
00:42:45,880 --> 00:42:48,480
easy to find. We were super excited when we typed

748
00:42:48,480 --> 00:42:50,360
it into Google and we were the first hit that

749
00:42:50,480 --> 00:42:52,480
came up. Yep, so there's no other.

750
00:42:53,039 --> 00:42:55,719
Speaker 12: It actually had like an artist like our ages and

751
00:42:55,760 --> 00:42:56,639
all the different information.

752
00:42:56,679 --> 00:42:59,440
Speaker 11: I'm like, wow, good, there's no there's no other New

753
00:42:59,480 --> 00:43:01,920
Age phone graphs out there. We find that in our

754
00:43:01,960 --> 00:43:04,199
area there's several bands that have the same name, and

755
00:43:04,239 --> 00:43:06,480
it's like when we that was another thing coming up

756
00:43:06,519 --> 00:43:09,519
with the name. Wanted us to be something that nobody

757
00:43:09,519 --> 00:43:10,559
else has exactly.

758
00:43:12,079 --> 00:43:15,800
Speaker 2: Yeah, yeah, now that's very important, absolutely absolutely. Okay, So

759
00:43:16,719 --> 00:43:19,400
we're gonna let you go and we'll hit that track again.

760
00:43:19,440 --> 00:43:21,199
Thank you both so much, Randy and Matt, thank you

761
00:43:21,280 --> 00:43:25,480
so much for joining us this morning. And have absolutely

762
00:43:25,559 --> 00:43:30,239
you two. Okay, take care, bye bye bye, all right, wonderful.

763
00:43:30,280 --> 00:43:33,039
That was Matt and Randy from New Age Phonograph and

764
00:43:33,079 --> 00:43:35,599
we're gonna play this track. This is called a Mess

765
00:43:35,639 --> 00:43:38,960
and Round and after that coming up in the second

766
00:43:38,960 --> 00:43:41,960
hour Superbug. Is they are in the building, yes, Jenny says, yes,

767
00:43:42,079 --> 00:43:44,239
very good. H So we've got a lot more to go,

768
00:43:44,639 --> 00:43:48,239
so please stay with us on this Saturday morning if

769
00:43:48,239 --> 00:43:50,280
you are listening live, but here it is. This is

770
00:43:50,280 --> 00:44:07,960
called Mess and Round and this is New Age Phonograph.

771
00:44:03,039 --> 00:44:04,440
Speaker 6: When we first met you.

772
00:44:05,000 --> 00:44:08,880
Speaker 18: If you call it backstage so we could help you

773
00:44:09,559 --> 00:44:10,079
leave your.

774
00:44:09,960 --> 00:44:14,239
Speaker 6: Glory days, it's too bad. Then we can see through

775
00:44:14,280 --> 00:44:15,760
your lives, your.

776
00:44:15,840 --> 00:44:20,360
Speaker 18: Chest a ship bed, worls disguise or why.

777
00:44:20,199 --> 00:44:32,440
Speaker 6: Don't you try that's surround with men, the lad what

778
00:44:32,559 --> 00:44:36,760
you think you're doing talking out a line you think

779
00:44:36,840 --> 00:44:39,920
with your sins? Mesten with my mind.

780
00:44:40,559 --> 00:44:43,199
Speaker 19: I'm didn't there to tell you to put you in

781
00:44:43,320 --> 00:44:45,280
your place now the same.

782
00:44:45,239 --> 00:44:52,239
Speaker 6: You would never dance? We try that's around with me?

783
00:44:53,039 --> 00:45:04,159
Speaker 19: Man, try to take a song like dot you less

784
00:45:04,199 --> 00:45:08,199
speed sat I heard way worse than you, then said

785
00:45:08,320 --> 00:45:11,679
to me, got to spread those rumors.

786
00:45:11,400 --> 00:45:15,440
Speaker 18: And your donation wid the tread of the four.

787
00:45:18,159 --> 00:45:18,519
Speaker 5: Words.

788
00:45:18,679 --> 00:46:01,199
Speaker 17: Check listen to me, man, your black worms said in reading.

789
00:46:01,320 --> 00:46:05,360
Speaker 20: By the time I'm be getting jealous while I'm out

790
00:46:05,400 --> 00:46:06,639
here making bad.

791
00:46:07,000 --> 00:46:08,400
Speaker 3: You'll like what I'm doing.

792
00:46:08,559 --> 00:46:10,440
Speaker 5: You don't like it, well.

793
00:46:10,599 --> 00:46:12,119
Speaker 6: You don't want to know.

794
00:46:15,440 --> 00:46:18,679
Speaker 5: What you trying to mess with me?

795
00:46:19,440 --> 00:46:25,159
Speaker 14: Mad fool.

796
00:46:31,159 --> 00:46:34,920
Speaker 5: Oh what chrysten.

797
00:46:36,840 --> 00:46:55,800
Speaker 20: My I wasn't ready, but the chance was My son

798
00:46:56,199 --> 00:47:01,280
took it quickcause I saw the signs new and then.

799
00:47:01,360 --> 00:47:05,320
Speaker 21: Then we will mentor anyway for love spoored.

800
00:47:05,559 --> 00:47:10,639
Speaker 5: Everyone can see that. Thank God for finning you.

801
00:47:12,280 --> 00:47:17,199
Speaker 6: Thank you for love to too. Shout it from the rooftop.

802
00:47:17,360 --> 00:47:20,639
Spreads the water love like gods.

803
00:47:21,039 --> 00:47:22,360
Speaker 3: It's got to be heard.

804
00:47:23,199 --> 00:47:26,800
Speaker 6: It's with you and ever staw me face and your

805
00:47:26,920 --> 00:47:30,800
so of problems a moon the case for.

806
00:47:31,400 --> 00:47:35,559
Speaker 4: Show those I be BYO decided to homie time.

807
00:47:36,000 --> 00:47:40,039
Speaker 6: Then I need to cry and that Thank God for

808
00:47:40,280 --> 00:47:46,320
finding you. Thank you for loving to too. Shout it

809
00:47:46,440 --> 00:47:52,159
from the rooftop. Spread the word love like gods. Scottuls

810
00:47:52,199 --> 00:47:53,760
the other hop.

811
00:47:53,360 --> 00:47:58,000
Speaker 18: For in it together fall long word when it comes

812
00:47:58,000 --> 00:48:02,800
to last for a second in the distruing the minity

813
00:48:03,000 --> 00:48:06,199
in time, love each old.

814
00:48:06,360 --> 00:48:07,920
Speaker 6: It's our only pine.

815
00:48:08,039 --> 00:48:11,320
Speaker 5: And thank God for finny you.

816
00:48:13,000 --> 00:48:18,519
Speaker 6: Thank you for loving me too. Shouting from the rooftop.

817
00:48:18,039 --> 00:48:22,360
Speaker 21: Spread the words, I love my God, it's got to

818
00:48:22,519 --> 00:48:44,000
be other. Thank God for funny you don't. Thank you

819
00:48:44,679 --> 00:48:49,960
for loving me too. Shouting from the rooftop, Spread the word.

820
00:48:51,280 --> 00:48:57,000
Speaker 6: N Gods, it's got to be Gods, God for funny you.

821
00:48:58,599 --> 00:48:59,079
Speaker 14: Thank you.

822
00:49:00,079 --> 00:49:04,239
Speaker 6: Love there me two, shouting from the road top, Span the.

823
00:49:04,400 --> 00:49:08,440
Speaker 14: Road, and now it's got to be hurt.

824
00:49:09,719 --> 00:49:10,800
Speaker 18: Thank God for.

825
00:49:10,960 --> 00:49:11,880
Speaker 17: The funny you.

826
00:49:13,519 --> 00:49:18,440
Speaker 21: Thank you for loving me too, shouting from the rooftop,

827
00:49:18,599 --> 00:49:19,679
Span the road.

828
00:49:20,599 --> 00:49:24,599
Speaker 6: No, my God, it's got to be herd. Shout it

829
00:49:24,760 --> 00:49:35,440
on the road top. Spread the world, shout God, you've

830
00:49:35,559 --> 00:49:38,159
gotta be got to be.

831
00:49:43,719 --> 00:49:45,519
Speaker 5: One, two, three am.

832
00:50:17,559 --> 00:50:21,840
Speaker 22: Go on, get up in a money hit out high ware.

833
00:50:21,920 --> 00:50:27,840
Speaker 5: He's sixty one. Good morning, Get up in a morning

834
00:50:28,960 --> 00:50:35,000
hid out highway. He's sixty one. You know me and

835
00:50:35,199 --> 00:50:38,679
my beat, take up my being nothing on.

836
00:50:38,920 --> 00:50:47,199
Speaker 9: Run Yeah, gone down that grocery store, gonna find myself.

837
00:50:47,039 --> 00:50:55,000
Speaker 5: Gun going down the grocery store. Gone, I find myself

838
00:50:55,039 --> 00:50:55,559
on gun.

839
00:50:58,840 --> 00:51:32,119
Speaker 9: Yeah, me and my baby always have lots of fun. Yeah,

840
00:51:32,320 --> 00:51:36,760
we're going down our highway. We ride us hell down.

841
00:51:40,000 --> 00:51:42,159
Speaker 5: Here, we're going down the highway.

842
00:51:43,280 --> 00:51:44,960
Speaker 9: We ride us hell down.

843
00:51:48,199 --> 00:51:50,000
Speaker 17: You know we rocket to the night.

844
00:51:50,239 --> 00:51:53,440
Speaker 5: Baby, We're comen the morning comes.

845
00:51:56,480 --> 00:52:01,920
Speaker 22: Go on, get up here, moone him here Halloway sixty one.

846
00:52:04,679 --> 00:52:06,119
Speaker 5: I'm gonna get up in a.

847
00:52:06,320 --> 00:52:08,000
Speaker 6: Moon now here.

848
00:52:08,159 --> 00:52:10,239
Speaker 5: No highway sixty one.

849
00:52:13,000 --> 00:52:16,960
Speaker 22: You know me and my thing I take, I love

850
00:52:17,039 --> 00:52:23,559
you on the run. Yeah, get up in a morning

851
00:52:24,480 --> 00:52:26,880
here a highways sixty one.

852
00:52:29,639 --> 00:52:33,239
Speaker 3: You wanna get up in a moon now here.

853
00:52:33,119 --> 00:52:39,760
Speaker 5: That highways sixty one. You know, me and my th

854
00:52:41,280 --> 00:52:43,159
always have lots of fun.

855
00:52:46,480 --> 00:52:51,840
Speaker 22: Yeah, you're calling out of Halloway Hallways six and one.

856
00:52:55,079 --> 00:53:00,320
We're going down at highway that hallway sixty time.

857
00:53:09,199 --> 00:53:13,440
Speaker 23: On September fourth, go gold with Caden's Crusaders at game time.

858
00:53:13,559 --> 00:53:17,480
Lane's and Amesbury dedicated to helping children and their families.

859
00:53:17,519 --> 00:53:21,800
White Cancer Cadence Crusaders remembers loved ones lost and those

860
00:53:22,039 --> 00:53:26,599
still battling today. Join them Thursday, September fourth for bowling acts,

861
00:53:26,679 --> 00:53:31,719
throwing pizza and lots of raffles. RSVP today at Cadenscrusaders

862
00:53:31,760 --> 00:53:36,199
dot org. That's Caden's c Ai d e Ns Crusaders

863
00:53:36,480 --> 00:53:37,000
dot org.

864
00:53:37,960 --> 00:53:41,519
Speaker 24: Luigi's Pizza Barron Grell one.

865
00:53:42,039 --> 00:53:46,480
Speaker 7: Let's praises Lysne with topping to the ground.

866
00:53:47,039 --> 00:53:49,000
Speaker 5: It's a pizza bio mind.

867
00:53:49,599 --> 00:53:54,440
Speaker 24: Luigi's Pizza Barren Grill, seven twelve Valley Street, Manchester. Come

868
00:53:54,480 --> 00:53:57,760
on in or call six two two one zero two one.

869
00:53:58,239 --> 00:54:04,880
Luigi keeping the traditional live since nineteen seventy five, pas.

870
00:54:04,679 --> 00:54:06,119
Speaker 5: Up for every once.

871
00:54:06,719 --> 00:54:10,800
Speaker 7: Come join a beast to night with these slye sets

872
00:54:10,880 --> 00:54:13,719
of it, Everything's feels so right.

873
00:54:16,719 --> 00:54:18,880
Speaker 15: In times of crisis, you need a law firm that

874
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stands by your side. With over forty years of experience,

875
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876
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877
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will assess your case and fight for the compensation you deserve.

880
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881
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you need us most. Visit Craigatzulis dot com for a

882
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free consultation, Craigan Getsulus, your advocates, your allies.

883
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Speaker 25: Bring your kitchen to life with Queen City Cabinetry, located

884
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at eighty seven Elm Street in the historic Sunbeam Law

885
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886
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thirty pm, in Saturdays ten am to two pm. They

887
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can be reached at six three two two two to

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889
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890
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Cabinet Tree. Another crowd sponsor of w MNH.

891
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Speaker 26: Hey everyone, there's Rob Azevedo, host of Granite State of Mind,

892
00:55:27,079 --> 00:55:28,880
and I want to tell you about Pembrook City Limits

893
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and the Historic Suncook Village. PCL's an award winning bar,

894
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restaurant and music venue where there's live music five days

895
00:55:35,400 --> 00:55:39,199
a week and twice on Saturdays, everything from blues, country, folk, funk,

896
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and a whole lot of jazz. We have twelve craft

897
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beers on tap dedicated to the local brewers in the

898
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area and some of the friendliest bartenders around.

899
00:55:46,840 --> 00:55:47,800
Speaker 3: Please come visit.

900
00:55:47,639 --> 00:55:50,079
Speaker 26: Pembrook City Limits at one thirty four Main Street, the

901
00:55:50,280 --> 00:55:54,400
historic Suncook Village only six miles outside of Manchester. Open

902
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Tuesdays to Wednesdays four to ten Thursdays a Sunday eleven

903
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to ten Pembrook City limits.

904
00:56:00,119 --> 00:56:01,320
Speaker 3: Where it's all about the music.

905
00:56:01,559 --> 00:56:04,199
Speaker 27: Disneys Cafe is the place to put a smile on

906
00:56:04,320 --> 00:56:06,719
your face. Judy and the crew will take care of you.

907
00:56:06,960 --> 00:56:10,679
Bring your appetite and trig your taste buds right. Disne's

908
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Cafe is always a winning choice. Breakfast, lunch or supper

909
00:56:15,320 --> 00:56:19,599
Dizze's Cafe at eight sixty Elm Street in downtown Manchester.

910
00:56:20,079 --> 00:56:22,800
Dine in, take out or make a reservation call.

911
00:56:22,800 --> 00:56:27,039
Speaker 24: Six oh three, six oh six two five three two, eat,

912
00:56:27,480 --> 00:56:30,239
drink and be happy Dizze's Cafe.

913
00:56:30,599 --> 00:56:33,320
Speaker 28: When it comes to keeping WMNH on the air and

914
00:56:33,440 --> 00:56:37,199
your own personal or business computer needs, trust Growland Computers

915
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located on Elm Street in Manchester. Groland handles computer repair,

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920
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921
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922
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Speaker 6: Midnight.

923
00:57:10,079 --> 00:57:14,000
Speaker 9: Seven times out of ten we'll listened to our music

924
00:57:14,320 --> 00:57:15,079
at night.

925
00:57:17,639 --> 00:57:20,079
Speaker 15: On the titled book business program.

926
00:57:19,880 --> 00:57:22,320
Speaker 24: Late Night to Light with DJ Midas right here on

927
00:57:22,519 --> 00:57:25,719
WMNH Manchester because.

928
00:57:27,440 --> 00:57:29,800
Speaker 27: Saturdays and Sunday nights midnight to four am.

929
00:57:31,159 --> 00:57:36,599
Speaker 29: This hour on WMNH is sponsored by CGI Business Solutions,

930
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located at five Dartmouth Drive in Auburn. They serve all

931
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your business needs including employee benefits, planning, corporate design and

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933
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Their phone number is eight sixty six eighty four to

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business Solutions dot com.

936
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Speaker 1: Behold the harmony of airwaves as you immerse yourself in

937
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the captivating frequencies of w MNHLP. The sonic heartbeats of

938
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Manchester is transcending through the ether at ninety five point

939
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three megahertz. Frequency modulation or transmissions emanate from the zenith

940
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of one thousand Elm streets insure into the hearts of

941
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our creative realm at one nineteen Canal Street, where innovation

942
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and sound colloge. They're the impro moder of Manchester Public

943
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television service in the venerable city of Manchester, New Hampshire, USA.

944
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Enrich your auditory journey with the depth of our license

945
00:58:36,679 --> 00:58:40,280
to WESDENSSPT. Your missives to wm NH ninety five to

946
00:58:40,320 --> 00:58:44,039
three at gmail dot com, or traverse the virtual corridors

947
00:58:44,079 --> 00:58:48,199
of wmnhradio dot org. Engage with our sonic vibrations by

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00:58:48,239 --> 00:58:51,719
communing with us through the digital channel or radio beckons

949
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eager to enthrall you with its mesmerizing cadence and develop

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00:58:55,119 --> 00:58:57,400
you with a symmony of boundless auditories.

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Speaker 5: Won dude, w m n H rips them, we're.

952
00:59:07,039 --> 00:59:08,000
Speaker 3: Back from the brain.

953
00:59:36,599 --> 00:59:37,679
Speaker 5: Well, go for my day.

954
00:59:38,000 --> 00:59:39,559
Speaker 27: I put the wreck it on it.

955
00:59:40,199 --> 00:59:43,559
Speaker 5: So that not stop dead. I'm before wrecking it all.

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00:59:43,800 --> 00:59:44,840
Speaker 6: I thought the Friday.

957
00:59:45,239 --> 00:59:47,800
Speaker 5: I thought a Friday were not stoppad.

958
00:59:48,079 --> 00:59:50,679
Speaker 6: They call me twisted, They called me cra sad.

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00:59:50,960 --> 00:59:53,559
Speaker 18: They go, that was not dead.

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Speaker 5: I don't call you. I thought a Friday