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Speaker 1: 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 1: Hello. Are you there, Hey, Matt, how's it going? Oh awesome?

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Sounded great?

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Speaker 2: Yes, welcome to the program, of course. So we have

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Matthew and Randy. How are you both doing today?

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Speaker 3: Doing all right? Can't complain good? Good? No?

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Speaker 2: Yeah, no, I'm excited to talk to you. I love

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

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

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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 1: But so I'm bummed we.

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Speaker 2: Don't get to meet you in person because I know

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originally you were on a tour and you had some trouble.

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How are things going now?

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Speaker 4: 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 5: Yeah.

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Speaker 1: 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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brook down? Is that what happened?

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Speaker 4: 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 yeah, there was no way we were going to

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go any further east. We were actually supposed to be

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on the East coast up in uh where it was

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not Quebec, Nova Scotia before we came down and saw

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you guys, So we were kind of bummed that we

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couldn't go hit that whole area on this leg of

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the tour. Yeah, we were able to come over the

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East coast on the first leg and we were just

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lucky to 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. Now,

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are you in the meantime are you playing shows locally

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or what's kind of the situation there.

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Speaker 4: Yeah, we have access, we we have an alternate car.

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So we've been uh planning on doing other shows here.

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We have one coming up locally in Roseberg in October

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that's at a really nice venue called the Rosebud Theater.

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And then we have a couple of little ones in

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between there that are just fill in things, and we're

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trying to pick up as many as we can along

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

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Speaker 1: 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,

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but we were debating what is the correct way to

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say the name of your state?

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Speaker 3: Oregon? Yeah, Oregon, Oregon.

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Speaker 4: And we're in the Umquaw Valley. We're just a little south.

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Uh would you call it southwest? Yes, southwest Oregon. We're

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we're right around the little place called Roseburg.

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Speaker 1: Okay.

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Speaker 5: Uh yeah, so about our our 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

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

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Speaker 4: Yeah, definitely. I moved here a few years ago or

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and now is a few years Well. When I first

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

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better than this. You don't have the uh, the reign

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

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

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temperature right in the valley.

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Speaker 1: Right, No, that makes sense. And what's the music scene

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like there?

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Speaker 2: Because you know what you're doing to me when I

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listen to a new age phonograph and and we'll we'll

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talk more about the music in a moment, but but

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to me, it's it's, uh, you.

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Speaker 1: Know, not not terribly common.

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Speaker 2: Like when I listened to it, I don't think, oh,

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they sound exactly like so and so, you know, so,

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I don't know. I'm curious if where you are, where

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you're located, are there other artists that sound like you

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or do you really kind of stand out in the

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scene there?

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Speaker 4: Well, there wasn't much of a scene not that long ago,

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but lately the Roseberg scenes picked up a little bit.

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And there's there's a few bands that I would say

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are like the top competing bands in the area, but

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nobody really sounds like each other. There's a local band

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called Widespread Haze. They have their own hippie jam vibe

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going on. There's James and the Lost Dogs. They have

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more of a classic rock like electric guitar feel. And

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then with us, the way it evolved with the foot

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drums that we play or that I play that whole

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That whole thing gives us a real retro vibe and

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we just have kind of our own thing going on

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due to the limitations.

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

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interesting because it's so it's just the two of you, right,

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

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musicians join you sometimes I don't no, but yeah, New

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Age Photographs as an.

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Speaker 1: Entity is just the two of you. Correct.

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Speaker 4: Yeah, it's it's pretty much been me and Randy since

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we started it up. I play the foot drums to

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round it out. And then this last record has harmonica

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ron Ron the Hartman Perkins. He's featured on the whole thing.

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He featured on our first record, but we put him

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on this whole thing because they had a real good

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blues rock vibe. This this whole new album called the Old.

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Speaker 3: Ball and Chain.

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Speaker 4: That one's uh. That one was all kind of new

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new material. The old one, the old record, or the

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first record we put out, had a mix of some

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new stuff and some old stuff. But the latest record,

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the Old Ball and Chain, it it really has evolved

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to where that's kind of our vibe. That's kind of

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what we sound like if we're in a room and

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we just tried to catch sure what we sound like

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in a room.

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Speaker 2: Okay, you know what else I like too is listening

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

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

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you know when you've got the foot drum going, you

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can you can do that while while playing something else.

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But but it's interesting that are people ever surprised when

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they listen to your music and they don't know anything

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else about you and then they find out it's just

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the two of you? Does that surprise people? Or maybe

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they go see you live and they're surprised at how

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big a sound you're able to create with just the

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two of you.

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Speaker 3: It is, it is.

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Speaker 4: It is an interesting thing because it's a kind of

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hard to market because there are places who say duo oh,

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

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

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what you guys want for the evening. But if you

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

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Speaker 5: Yeah, exactly.

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Speaker 4: Yeah, It's definitely been something where a lot of people

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are surprised when they hear us, they're just, oh my god,

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you guys are amazing. How do you even do that?

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

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weird little custom foot drum that I came up with

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that has a little high hat on top of it,

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and because of the symbol and the back beat of

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

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thing you're missing is the fills from the toms. And

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we don't do anything too complicated. It's all straight back beat.

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It's all blues right right.

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

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something like that live, and it was just Jesus was

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more than twenty years ago, but John Hyatt was on

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tour and he was in the area and I went

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to see him at the For people in area who

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know the Capitol Theater or Capital Center, I think back

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then it was the Capitol Theater and now it's the

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Capitol Center. Maybe it's the other way around, but anyway,

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he was doing this. It was a solo acoustic thing.

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But he comes out and he's, you know, he's As

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he starts to play, it was a surprise. He starts

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stapping his foot and it was obvious that I didn't

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see a drama on the stage. It was like it

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was like he just had a mic like on the

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floor there and he just tappened. But it sounded really

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good and it you know, and just that one little

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thing changes everything, like it's it's like I remember thinking,

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he opened I don't remember what song he opened with,

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but which I'm embarrassed about because I love John Iyatt.

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But although he played everything that night that I really

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wanted to hear, which was great. But I just remember

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he starts playing and he's strung, and I'm thinking it's

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just gonna be him and his guitar, and then he

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starts tapping and it just changed the whole vibe. Like

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it was this energy burst immediately in the room and

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it was so cool. But that must be that must

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be one of the most fun things about doing what

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you do. Right when you're playing and people are surprised

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and you can see they're surprised, or they come up

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to you afterward and say, wow, that was that was

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more than I expected.

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Speaker 1: That was great. You know, that must be really cool

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for both of you.

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Speaker 4: Yeah, I told my little brother, I said, uh, I

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think we've been we've been looking around for a drummer,

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and he goes, you know what, I'm almost more impressed

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when I see you just doing what you're doing and

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it's just the two of you, and I'm like, yeah,

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that you're You're right, I guess as far as a

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musician seeing see another musicians play.

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Speaker 5: Yeah, And also well, basically we have to rely on

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each other. We show up for the gigs, you know,

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we have to. We're married.

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Speaker 3: So yeah, right, it's hard.

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Speaker 4: To keep a drummer around, right, right, right, Randy. Actually,

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she uh wasn't uh wanting to do. She didn't have

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aspirations to be a musician. It was just something kind

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of like my little brother and I started the band.

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But then before we even got anything going, he moved

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up to Washington, Okay, and uh Randy was like, well, uh,

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we got the drum set. Do you wanna do you

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wanna me to learn how to play drums? And I said, well,

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we have a bass sitting around. Do you want to

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just play single note based stuff? And she was like, well, yeah,

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I do that and then I showed her a blues

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scale and now you can't stop her. She writes her

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own bass parts. Yeah, just based off of the blues

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rock scale that I showed her. Yeah, and uh, we

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played cover stuff. She's like, oh, I'm not playing roots

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and fists. I'm gonna just play this. I'm gonna jam

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out and feel my way around it. And then write

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her own bass parts for everything.

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Speaker 2: That's cool, that's awesome. Well, Randy has a bass player myself.

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I respect that. That's really good. That's really cool, awesome.

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Speaker 4: And then yeah, we also we met doing karaoke, so yeah,

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she actually had to kind of be pushed into singing

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a little bit.

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Speaker 3: Oh because.

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Speaker 4: When we first when we did our first record, it

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was definitely a lot of well all just sing backup

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and I was like, no, no, you can do full stuff.

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And I think it was my mom who was like,

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make her do more songs. Yeah, So definitely her on

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the album next time.

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Speaker 3: Like that.

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Speaker 4: Definitely when we came up to the latest record, we

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actually we wrote a few of the songs together and

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tell them tell him how you came up with with

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the the main songs that you wrote.

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Speaker 5: Oh, well, two of them. I woke up late night

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and it was like half an hour forty five minutes.

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I had both the mostly written down. Now not music,

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just lyrics, and so I took him to him. I

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was like, put music to this, please, yeah, yeah, yeah,

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And literally the song pretty much wrote themselves.

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Speaker 4: She came to me with lyrics. The lyrics were in

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a structure where it was like, oh, okay, this is perfect.

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Speaker 3: And then of.

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Speaker 4: Course there's only one song on the record that she

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wrote that she didn't sing. That had to do with

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times constraints. Okay, So mostly the stuff she wrote she

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sings now.

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Speaker 2: Yeah, excellent, excellent, and it's nice to you know, you

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know you've really got something when it comes together easily

247
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like that, right, you know, when you don't have to

248
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when to I mean, you know people talk about, you know,

249
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it's a lot of work writing songs and everything and

250
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getting recorded the way you want them, and it is

251
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a lot of work, right, But when when you have

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something that you know, okay, here's the lyrics, Oh okay,

253
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I can work with that, here's here's an idea for

254
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the melody and everything, when it comes together fast, then

255
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you know you've really you've really got something when it's

256
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when it's easy, you know what i mean.

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Speaker 1: So I'm sure that.

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Speaker 3: Was yeah, yeah, for sure.

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Speaker 4: Almost all the best songs that that I think we've

260
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done just came came to us. They weren't really difficult

261
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to write. We only struggled with UH with UH Bruce,

262
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with our comedy song Bruce. Yeah, and that's because Randy

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came to me with the concept in most of the lyrics,

264
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and then we tried to fish it out and make

265
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it funny with that one. But my my songwriting method

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is literally come up with the chord structure and then

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ones I come up with the chord structure, like the

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stuff just drops out of the ether. It's I sometimes

269
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like those aren't even my songs. I'm just like the

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caretaker of them because they're just they just come out

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of nowhere. And you know it's probably a subconscious thing, sure,

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but but nothing's too I've been writing songs since I

273
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was fourteen, and so it's like, oh, here's the basic structure, verse, chorus, verse,

274
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let's throw in a solo here, Let's make sure we

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come up with an intro an outro if we can.

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But other than that, the song structure is the framework,

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and then the lyrics, if they're difficult to work on,

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those usually don't make the records.

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Speaker 1: Okay, that makes sense, Yeah, it makes sense.

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Speaker 2: I'm really curious too about recording because you know, sometimes,

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at least this is my observation, sometimes you'll hear an

282
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artist who's doing something like what you're doing, or well,

283
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like I said, nobody sounds exactly like you, but but

284
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but kind of a kind of a similar vibe where

285
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you know you wish you don't want it to be

286
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too you don't want the production to be too clean,

287
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you don't want it to be too slick, And sometimes

288
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you might hear something that you know you wish the

289
00:14:24,240 --> 00:14:27,000
production was a little grittier, you know. But when I

290
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listen to these tracks, I think the production matches what

291
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you're doing in the sense that the production is great.

292
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It's it's totally pro It sounds amazing, the mix is

293
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great and everything, but it's not but it's not overly slick,

294
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which is what I hear a lot of sometimes where

295
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where it's like, Okay, this is too slick for what

296
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this vibe and the sound is that this band is making.

297
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But I love the production on on this on this album,

298
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Can you tell me about that? How did you record

299
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old Ball and Chain that's the newest one? Yeah, yeah,

300
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how did you record that?

301
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Speaker 5: So? Once we had what tracks we were going to

302
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put on the album. We actually recorded here at the house.

303
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We invited Ron over for a couple of days. Uh,

304
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we gave him some input on what he wanted to

305
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do on each track, and then we recorded him probably

306
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three or four takes each probably, and then after that

307
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we took them to a local place way back recording

308
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and they we listened with them and kind of you know,

309
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we you know, we've told them, you know, we're recording

310
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them at home. We want to have that kind of

311
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live feel, you know, so when you listen to him,

312
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you know it's what you're gonna get basically, you know,

313
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nothing to like you said, overproduced or anything like that.

314
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So uh yeah, and then they you know, put a

315
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little extra on it, which you know, it worked out

316
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pretty well.

317
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Speaker 4: Yeah, Uh definitely. When when we were recording this one,

318
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we knew we were kind of sudden up tour and

319
00:16:00,559 --> 00:16:03,679
it was a big tour, and uh, in order to

320
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do that, you know, you gotta you gotta kind of

321
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give people a sound. You don't want to overproduce it.

322
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I wanted it to sound just like we do if

323
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we're sitting in a room together. We don't play to

324
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a click track, ever, and so it was like, this

325
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is what we sound like, this is our vibe. We

326
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want to be able to sell ourselves, Like, hey, if

327
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you come to see us, this is what you're gonna get.

328
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Is you're going to get this if we if we

329
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added too many overdubs or we did too much fancy

330
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production on it, it just wouldn't sound like us in

331
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a room, right And and I mean not to toot

332
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my own horn, but I think we we sound really good.

333
00:16:41,519 --> 00:16:44,799
We we've been working on this a while and it's

334
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evolved to the point where it's some really good blues

335
00:16:47,399 --> 00:16:50,600
rock and we've got a good dynamic. We we uh,

336
00:16:51,200 --> 00:16:54,639
we're comfortable on stage now. It's quite a while to

337
00:16:54,679 --> 00:16:57,200
get comfortable on stage. And now that's where we work

338
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out all our marital issues.

339
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Speaker 1: They got there, Oh that's perfect. Yeah.

340
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Speaker 4: On the whole tour, I was side seat driving Randy

341
00:17:08,039 --> 00:17:12,400
because I'm a control freak. Yeah, And so it became

342
00:17:12,440 --> 00:17:14,759
a thing where like one day I was like, I

343
00:17:14,799 --> 00:17:16,240
just don't know how you put up with all my

344
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side seat driving and she was like, oh, yeah, well

345
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you know, and it just became like a thing where

346
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that's where we work.

347
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Speaker 3: Out all our issues. We just do it in front

348
00:17:25,039 --> 00:17:25,359
of people.

349
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Speaker 5: People just kind of love the dynamic of your husband

350
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versus wife type of thing.

351
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Speaker 1: You know.

352
00:17:29,640 --> 00:17:33,960
Speaker 4: Yeah, usually on my side, but they're always on your side.

353
00:17:36,720 --> 00:17:38,799
Speaker 2: They should take the bass player's side if you ask me.

354
00:17:39,119 --> 00:17:41,640
There you go, I support that. I support that.

355
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Speaker 4: Well, well it helps me too, because I got to

356
00:17:45,839 --> 00:17:50,119
keep my ego in check, right because you know, I'm

357
00:17:50,240 --> 00:17:52,599
just doing all this stuff over here, and then I

358
00:17:52,640 --> 00:17:55,480
think it's the Mat Show, but it's it's not the

359
00:17:55,519 --> 00:17:57,799
Matt Show. It's the Matt and Randy show, right.

360
00:17:57,799 --> 00:18:00,440
Speaker 5: Well, I mean it's crazy because you know, I'll think,

361
00:18:01,839 --> 00:18:06,559
you know, he he's lead, singing, guitar and drums.

362
00:18:07,039 --> 00:18:09,799
Speaker 3: You know, I'm we're playing and sometimes singing.

363
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Speaker 5: So I'm like, you know, but yeah, I do have

364
00:18:12,519 --> 00:18:13,240
to keep him in check.

365
00:18:13,440 --> 00:18:18,720
Speaker 2: Yeah. Oh, by the way, the obvious question, where does

366
00:18:18,759 --> 00:18:21,880
the name come from? New age photograph?

367
00:18:21,920 --> 00:18:22,480
Speaker 3: Oh man.

368
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Speaker 4: So me and my little brother worked for quite a

369
00:18:25,440 --> 00:18:28,559
while trying to figure out how to how to give

370
00:18:28,640 --> 00:18:32,880
the vibe because both of us like old music, both

371
00:18:32,880 --> 00:18:36,400
of us like new music, and we'll cover everything from

372
00:18:36,640 --> 00:18:40,880
old lead belly stuff from the nineteen thirties, howling Wolf's stuff,

373
00:18:40,920 --> 00:18:43,759
from the thirties and forties all the way up to

374
00:18:44,839 --> 00:18:50,519
uh we were working on flowers from uh that some

375
00:18:50,839 --> 00:18:52,440
What's is that the newest song we do?

376
00:18:53,200 --> 00:18:55,240
Speaker 3: No stuff? Yeah?

377
00:18:55,759 --> 00:18:59,839
Speaker 4: K Jellison, Yeah, Well, we've just got stuff that goes

378
00:19:00,079 --> 00:19:03,960
all through. We're nineties kids, eighties nineties kids, so we've

379
00:19:04,000 --> 00:19:06,119
got a bunch of eighties nineties stuff that we'll do

380
00:19:06,799 --> 00:19:09,240
and then all the way up to modern stuff. And

381
00:19:09,319 --> 00:19:11,880
so we're trying to say, how how do you say

382
00:19:12,640 --> 00:19:15,680
that we're new, but we also have love old stuff

383
00:19:16,400 --> 00:19:21,640
and the phonograph part is the old party and then

384
00:19:21,720 --> 00:19:25,799
the new age is like, well, you know, hippie crystals

385
00:19:25,839 --> 00:19:28,599
and stuff. So we were like, how do we associate

386
00:19:28,680 --> 00:19:31,839
the two that sounds that sounds right and the vibe

387
00:19:32,519 --> 00:19:34,359
with just the alliteration.

388
00:19:34,640 --> 00:19:38,039
Speaker 5: Yeah, and then also with just the two of us

389
00:19:38,279 --> 00:19:41,160
and having our you know, being a kind of broke

390
00:19:41,200 --> 00:19:43,799
down sound. You know, we try to say we take

391
00:19:43,960 --> 00:19:46,400
songs back to their bluesy roots. So when we're playing

392
00:19:46,440 --> 00:19:48,839
some of these songs, it's not exactly how you're you know,

393
00:19:49,000 --> 00:19:51,160
cover songs, not how you're going to hear them all

394
00:19:51,240 --> 00:19:53,880
the radio. So we're trying to you know, we're trying

395
00:19:53,880 --> 00:19:56,200
to figure out that point you know, what matches that

396
00:19:56,319 --> 00:20:01,519
vibe as well, so you know, hopefully people have an idea. Well, okay,

397
00:20:01,559 --> 00:20:04,119
so there's something new and old going on here and

398
00:20:04,240 --> 00:20:06,720
maybe you know, peaks their interesting. We never do a

399
00:20:06,759 --> 00:20:09,839
straight cover song. We do a cover song. However, we

400
00:20:09,880 --> 00:20:13,279
play a cover song, yeah, yeah, so it never comes

401
00:20:13,279 --> 00:20:14,039
out quite.

402
00:20:13,960 --> 00:20:17,559
Speaker 4: Like, oh, play me that that Hank Williams tune, and

403
00:20:17,599 --> 00:20:22,119
it's like, oh, well we can do that, but it's

404
00:20:22,160 --> 00:20:24,119
not gonna be as country as you want it.

405
00:20:24,720 --> 00:20:27,160
Speaker 2: Do you do you ever run into a situation like

406
00:20:27,160 --> 00:20:30,359
does anyone ever complain you like, oh, you played that wrong?

407
00:20:30,519 --> 00:20:31,880
Speaker 1: Or have you ever run into that?

408
00:20:33,319 --> 00:20:34,559
Speaker 3: No? Actually we haven't.

409
00:20:34,680 --> 00:20:35,039
Speaker 1: That's good.

410
00:20:35,359 --> 00:20:38,839
Speaker 4: We haven't really had anyone complain that we played anything wrong. Yeah,

411
00:20:38,880 --> 00:20:41,920
And I think that's when we do cover songs. We

412
00:20:42,000 --> 00:20:43,400
just don't play any of them right.

413
00:20:43,839 --> 00:20:45,759
Speaker 1: There you go, they're all They're all.

414
00:20:45,640 --> 00:20:47,960
Speaker 4: The way we do it, right. We were talking the

415
00:20:48,000 --> 00:20:50,519
other day about a CCR song that we did and

416
00:20:50,559 --> 00:20:53,720
we're like, man, when we hear it on the radio,

417
00:20:53,799 --> 00:20:57,240
it's like, man, that's so slow. Now to hear that song,

418
00:20:58,319 --> 00:21:01,240
we play it fast and it's just how like I

419
00:21:01,599 --> 00:21:04,279
used to bust around a lot, so a lot of

420
00:21:04,319 --> 00:21:07,480
these songs I wouldn't like listen to the radio version

421
00:21:07,519 --> 00:21:09,759
and then play it. I was just looking at the

422
00:21:09,799 --> 00:21:12,640
chord chart trying to flip to the next song and

423
00:21:12,759 --> 00:21:14,920
play the song. And I grew up with a lot

424
00:21:14,920 --> 00:21:19,039
of these songs that we play and I would just

425
00:21:19,119 --> 00:21:21,200
play them that way on the side of the road.

426
00:21:21,680 --> 00:21:23,839
And then they I brought him to Randy and I

427
00:21:23,880 --> 00:21:27,440
was like, oh, so I got this. What was it?

428
00:21:27,640 --> 00:21:31,519
The Tom Waits. I got this Tom Waits song and

429
00:21:32,480 --> 00:21:34,759
we play it like this and then we play it

430
00:21:35,039 --> 00:21:36,880
and then she hears it on the radio and she's like,

431
00:21:37,599 --> 00:21:40,519
nothing like how we play it, And I was like, well,

432
00:21:40,599 --> 00:21:41,680
that's just how I play it.

433
00:21:41,720 --> 00:21:44,119
Speaker 1: I get. Yeah. See, I think that's cool.

434
00:21:44,240 --> 00:21:46,960
Speaker 2: I think that's much more interesting anyway, because for me,

435
00:21:47,160 --> 00:21:48,839
I know a lot of people don't feel this way.

436
00:21:48,880 --> 00:21:51,400
A lot of people like if they're if they're somewhere

437
00:21:51,440 --> 00:21:53,680
and they hear a band playing a cover, they want

438
00:21:53,680 --> 00:21:56,240
to hear it, especially if it's a cover band quote unquote,

439
00:21:56,359 --> 00:21:59,240
and that's like their their mission, so to speak. You know,

440
00:21:59,279 --> 00:22:03,119
they want to hear it's exactly the way the original sounds,

441
00:22:03,119 --> 00:22:04,720
and it's like, to me, it's always been, well, what's

442
00:22:04,759 --> 00:22:07,640
the point, Like, I already know how the original sounds.

443
00:22:07,799 --> 00:22:10,079
I can listen to the original, I can go, you know,

444
00:22:10,599 --> 00:22:13,160
listen to the radio, or listen to it online. If

445
00:22:13,200 --> 00:22:14,920
I really want to hear the original, I want to

446
00:22:14,920 --> 00:22:17,359
hear your interpretation of it, you know.

447
00:22:17,400 --> 00:22:19,480
Speaker 1: Because otherwise, otherwise, what's the point.

448
00:22:19,559 --> 00:22:21,079
Speaker 2: I know a lot of people don't feel that way,

449
00:22:21,079 --> 00:22:24,640
but that's always been my My feeling is I want

450
00:22:24,680 --> 00:22:27,599
to hear your interpretation. I want to hear how it

451
00:22:27,720 --> 00:22:31,359
sounds from your perspective, and I just think that's so

452
00:22:31,480 --> 00:22:32,319
much more interesting.

453
00:22:33,319 --> 00:22:36,160
Speaker 4: Yeah, I never I never would have heard of Holan Wolf.

454
00:22:36,160 --> 00:22:38,519
It wasn't if it wasn't for the Doors playing back

455
00:22:38,559 --> 00:22:39,000
door Man.

456
00:22:39,160 --> 00:22:39,599
Speaker 1: Good point.

457
00:22:39,599 --> 00:22:42,240
Speaker 4: And if you've ever heard the Doors play back door

458
00:22:42,319 --> 00:22:45,519
Man and then Howland Wolf's back door Man, they're completely

459
00:22:45,559 --> 00:22:46,720
different songs.

460
00:22:46,440 --> 00:22:46,799
Speaker 1: Right right?

461
00:22:47,119 --> 00:22:51,039
Speaker 4: You say, Bob Dylan's version of All Along the watch Tower, yep.

462
00:22:51,119 --> 00:22:53,599
I feel like I showed that to Randy the other

463
00:22:53,680 --> 00:22:57,720
day and she's like, oh, I like that's cool, but

464
00:22:57,839 --> 00:23:04,680
that harmonica, you know, Okay, Yeah, definitely the interpretation of

465
00:23:04,720 --> 00:23:07,400
that song is definitely better than the original.

466
00:23:07,839 --> 00:23:09,599
Speaker 3: But at the same time. If you're a.

467
00:23:09,680 --> 00:23:13,359
Speaker 4: Huge Bob Dylan fan, you don't want to hear knocking

468
00:23:13,440 --> 00:23:16,400
on Heaven's Door by Guns n' Roses.

469
00:23:16,480 --> 00:23:17,160
Speaker 3: You want to hear.

470
00:23:17,200 --> 00:23:21,400
Speaker 4: Bob sing knocking on Heaven's Door. So it just depends

471
00:23:21,160 --> 00:23:24,680
on what you're in for for the night. A lot

472
00:23:24,720 --> 00:23:29,279
of people, especially the places we go, they just want

473
00:23:29,279 --> 00:23:31,480
to have a good time, and so that was kind

474
00:23:31,559 --> 00:23:34,640
of the thing we tried to evolve to be was

475
00:23:35,000 --> 00:23:37,160
first of all, not to just do cover songs. We

476
00:23:37,240 --> 00:23:40,880
got our own stuff, and so if people aren't coming

477
00:23:40,960 --> 00:23:42,680
up just to see a cover band, you know, like

478
00:23:43,079 --> 00:23:45,160
if we were called the Petties or something and all

479
00:23:45,200 --> 00:23:47,680
we played was Tom Petty, then yeah, you'd want it

480
00:23:47,720 --> 00:23:51,480
to sound like Tom Petty. But when you're coming to

481
00:23:51,519 --> 00:23:54,160
see us, we play original stuff. So then when we

482
00:23:54,279 --> 00:23:58,599
Pepper and the cover songs, it's like we give them

483
00:23:58,599 --> 00:23:59,680
our own little twist.

484
00:24:00,240 --> 00:24:03,640
Speaker 1: Yeah definitely, Yeah, yeah, No, that's that's excellent.

485
00:24:04,000 --> 00:24:07,480
Speaker 2: So what's so what's kind of the future trajectory? I mean,

486
00:24:07,519 --> 00:24:09,680
do you have do you have more things that you're

487
00:24:09,680 --> 00:24:11,680
going to be recording or the new album hasn't been

488
00:24:11,720 --> 00:24:14,079
out for that long, right, so you're probably focused on

489
00:24:14,079 --> 00:24:17,640
on promoting the current album largely, I would imagine, right.

490
00:24:18,440 --> 00:24:22,319
Speaker 4: Definitely go pick up the new album. No, watch the

491
00:24:22,400 --> 00:24:27,640
new album. I'm sorry, you'll watch the latest video on YouTube.

492
00:24:27,960 --> 00:24:35,400
Speaker 3: Oh yeah, we have a we did our our album

493
00:24:35,440 --> 00:24:36,319
release party.

494
00:24:36,599 --> 00:24:40,319
Speaker 4: Okay, we recorded a video there that we just got

495
00:24:40,440 --> 00:24:44,200
edited after we got back from the well, after we

496
00:24:44,240 --> 00:24:46,759
had to come back from the tour. Yeah, we threw

497
00:24:46,799 --> 00:24:52,519
that up and uh so messing Around is one of

498
00:24:52,559 --> 00:24:55,319
the I would call it a single if we had singles.

499
00:24:55,599 --> 00:24:58,720
Speaker 3: Yeah, off that record and we made a video for that.

500
00:24:59,559 --> 00:25:00,480
Go check that out.

501
00:25:00,519 --> 00:25:04,400
Speaker 4: There's a wolf Hollan at My Doors another one that

502
00:25:04,440 --> 00:25:06,599
we did from the first record that we had a

503
00:25:06,759 --> 00:25:10,359
little video and we produced all the videos ourselves. It's

504
00:25:11,240 --> 00:25:14,559
it's the age where you can shoot your own stuff yeh,

505
00:25:14,680 --> 00:25:19,119
super cheap and edit it yourself, and so they aren't

506
00:25:19,200 --> 00:25:22,519
high production things. But we're just trying to push the

507
00:25:22,960 --> 00:25:26,000
latest record. As soon as we get the van fixed,

508
00:25:26,039 --> 00:25:30,319
we're gonna see what we can salvage from this tour

509
00:25:31,039 --> 00:25:34,799
and start setting up for the next tour. We're just

510
00:25:34,799 --> 00:25:36,960
gonna try to keep going as much as we can

511
00:25:37,559 --> 00:25:41,160
while we got a little momentum going. And we do

512
00:25:41,240 --> 00:25:45,480
have a bunch of songs that either are sitting on

513
00:25:45,519 --> 00:25:51,319
the back burner and we have them written, or when

514
00:25:51,400 --> 00:25:55,279
we talk about doing another album, we've been talking about, well,

515
00:25:56,440 --> 00:25:58,680
you know, if we're going to write some new stuff,

516
00:25:59,119 --> 00:26:01,279
then we might work together a little bit on some

517
00:26:01,359 --> 00:26:05,400
new stuff. But all that stuff just kind of evolves

518
00:26:05,759 --> 00:26:09,160
on its own. When we came up with the first record,

519
00:26:09,279 --> 00:26:11,680
we put a lot of singer songwriter stuff that I

520
00:26:11,680 --> 00:26:15,119
had written before on there, but then there was stuff

521
00:26:15,200 --> 00:26:18,559
like call Me the Wolf. That was one where I

522
00:26:18,680 --> 00:26:21,400
was just while we were even talking about writing the record,

523
00:26:21,880 --> 00:26:25,039
I came up with the baseline and wrote all the

524
00:26:25,119 --> 00:26:28,480
lyrics down, and then that song just kind of evolved

525
00:26:28,519 --> 00:26:31,240
on its own while we were writing that record. Okay,

526
00:26:31,319 --> 00:26:34,079
so we gave ourselves we said we're going to tour

527
00:26:34,160 --> 00:26:36,839
on this one for two years. So next year we'll

528
00:26:36,880 --> 00:26:39,440
be the second year, and we'll start working on the

529
00:26:39,480 --> 00:26:42,839
record next year for whatever we're going to release in

530
00:26:42,880 --> 00:26:44,160
twenty twenty seven.

531
00:26:44,319 --> 00:26:49,400
Speaker 2: Yeah, So okay, okay, very good, very good. Well, in

532
00:26:49,440 --> 00:26:51,640
a moment, we're going to play that track messing Around.

533
00:26:51,720 --> 00:26:53,640
We'll play that at the end of our conversation. I

534
00:26:53,640 --> 00:26:55,799
think that'll be and I might even sneak in another

535
00:26:55,839 --> 00:26:59,319
one after that because I love what you're doing, really

536
00:26:59,359 --> 00:27:02,319
really good stuff. So Matt and Randy thank you both

537
00:27:02,359 --> 00:27:05,240
so much before we let you go. So what should

538
00:27:05,240 --> 00:27:07,920
people know about where to find you online? To keep

539
00:27:08,000 --> 00:27:10,559
up with everything that you're doing, everything, all things New

540
00:27:10,599 --> 00:27:12,839
Age Phonograph. Where's the best place to go?

541
00:27:14,240 --> 00:27:14,559
Speaker 3: Okay?

542
00:27:14,599 --> 00:27:18,079
Speaker 5: So we're very active on Facebook and Instagram. You know,

543
00:27:18,480 --> 00:27:20,680
a new Age tentograph. We keep it simple, so if

544
00:27:20,720 --> 00:27:24,039
you search for new Tinograph you'll find us YouTube as well.

545
00:27:25,079 --> 00:27:27,759
We always joke we have not really a big presence

546
00:27:27,799 --> 00:27:31,279
on TikTok. We are on there, and then we're on

547
00:27:31,480 --> 00:27:34,720
all streaming you know, Spotify, Apple Music, all that kind

548
00:27:34,759 --> 00:27:37,920
of stuff as well. We have band Camp. We're kind

549
00:27:37,920 --> 00:27:38,799
of all over the place.

550
00:27:39,119 --> 00:27:42,240
Speaker 4: If you need to be directed anywhere, New Age phonograph

551
00:27:42,359 --> 00:27:45,680
dot com has has all the links to everywhere that

552
00:27:45,720 --> 00:27:49,160
you want to go. And as long as people are

553
00:27:49,160 --> 00:27:52,319
looking after us and trying to find us, we're pretty

554
00:27:52,319 --> 00:27:54,920
easy to find. We were super excited when we typed

555
00:27:54,960 --> 00:27:56,839
it into Google and we were the first hit that

556
00:27:56,960 --> 00:27:59,559
came up. Yep, So there's no other New Age The.

557
00:27:59,599 --> 00:28:03,119
Speaker 5: Actually have like an artist description like our ages and information.

558
00:28:03,119 --> 00:28:05,920
Speaker 4: I'm like, wow, good, there's no there's no other New

559
00:28:05,960 --> 00:28:08,720
Age phonographs out there. We find that in our area

560
00:28:08,759 --> 00:28:10,880
there's several bands that have the same name, and it's

561
00:28:10,920 --> 00:28:13,039
like when we that was another thing coming up with

562
00:28:13,079 --> 00:28:15,599
the name, wanted us to be, to be something that

563
00:28:15,640 --> 00:28:16,480
nobody else had.

564
00:28:18,559 --> 00:28:20,279
Speaker 1: Yeah, yeah, that's very important.

565
00:28:20,319 --> 00:28:24,200
Speaker 2: Absolutely absolutely Okay, so uh we're gonna let you go

566
00:28:24,319 --> 00:28:26,759
and we'll hit that track again. Thank you both so much,

567
00:28:26,839 --> 00:28:28,680
Randy and Matt, thank you so much for joining us

568
00:28:28,680 --> 00:28:29,119
this morning.

569
00:28:29,200 --> 00:28:33,119
Speaker 1: Thant and we have absolutely you two. Okay, take care,

570
00:28:33,200 --> 00:28:33,680
bye bye,