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Speaker 1: W m n h rips the Nobles.

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Speaker 2: When Mattso wakes up in the morning, he gets into

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the shower and to the top of his lungs.

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Speaker 3: He sings, I do what I want because I can't

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have it all right.

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Speaker 2: I'm back to the radio show now, all the best cherry.

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Speaker 4: Shutting it out.

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Speaker 1: I'm feeling all right.

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Speaker 5: I'm feeling real fast. Oh my gird above at the range.

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I'm leaving it on, singing in hand, going to see

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this band.

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Speaker 6: For the first time, doing my shoes.

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Speaker 7: You're feeling the grooves they get together live in second set,

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I'm singing along.

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Speaker 1: I'm moving to the group. There's a crown of front

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with a rulaho bout the way, seams stuck going off

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and we lockediz and dancing those tunes. She grabbed my

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hand and gave me a kiss.

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Speaker 3: It was all the two sol live music.

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Speaker 1: I'm seeing mysel there for live music. Come on, let's

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go for live music.

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Speaker 6: It's still in the groove for live music.

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Speaker 3: We let me move.

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Speaker 5: After the show, we went out back open near the stage.

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To my surprise, was with the band and her name

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was Page Scribble and know.

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Speaker 4: With all her teats.

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Speaker 1: Right after the show, from man in New York BA.

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Speaker 6: She said, come on, let's go three more shows.

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Speaker 1: And if I go aheading home and not load back

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your page right find my side. Got a band of

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our five as lady, we're back at the page.

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Speaker 5: You can't sitting to having some sad to watching our

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kids enjoying the show.

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Speaker 3: Live music.

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Speaker 1: I'm seeing the muscle beful live music.

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Speaker 5: Come on, let's go for live music, stealing neckge live music.

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Speaker 8: Let them.

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Speaker 9: All right that has lived for live music. The band

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is jam Demic and we've got the guys in studio

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with us. We're going to speak with them in just

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a moment. But welcome everybody. We have entered our number

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three New Marrow trace of Matt Connorton unleashed. We are

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live from the studios of wm NH ninety five point

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three FM and Glorious Manchester, New Hampshire. If you are

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listening live today Saturday, August sixteenth, twenty twenty five. Jenny

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is here as well at the news table and let's see.

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Let me get these mics up here, because we got

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the guys here. We gotta got a full room here.

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We got all five guys here. I think we should

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let's do this first. Let's start in the corner and

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we'll go around and have you each introduce yourselves and

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tell us what you do in the band, and we'll

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start with you over here.

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Speaker 10: Sir, Hi, my name is Chris Volpi Elvin, Hollis, and

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I'm keys and blues harp.

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Speaker 9: Okay, welcome Chris, and.

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Speaker 10: You Rob McAlpine, Chester, New Hampshire, drums, vocals, percussion.

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Speaker 9: Okay, welcome and you hey, do what.

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Speaker 11: I'm Joe Birch and I play lead guitar and the

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only guitar.

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Speaker 9: Okay, all right, very good? And you, Oh, Eric, hang on,

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I'm sorry. For some reason I cannot hear you. What's mike?

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Let me turn this up now, I got you. I

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guess got it. Why is this so quiet? We planned

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it that way. This is quieter than usual. Oh think

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I found you?

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Speaker 1: Check one too, I gotcha.

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Speaker 9: There we go. There you are all right.

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Speaker 1: I'm Eric McIntyre. I'm also from Hollis, New Hampshire, and

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I play bass, lead singer and kind of band manager.

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Speaker 9: Okay, Oh you got your hands full? Yeah, and you, sir.

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Speaker 12: I play the tenor sacks and also alto and baritone.

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Speaker 9: Okay, And from hollist as well. So your name again,

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I didn't quite have Drew Arthur, Drew Arthur, all right,

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welcome Drew all right. So well it was wonderful that

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Now is there anybody else who's who participates in the

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band who isn't here or is it because.

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Speaker 1: We have a sound guy, Kevin Kirsted Okay, so he

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comes with us and helps produce our sound, comes to

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our practice every now and then, typically in our rehearsal

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space at Big Bear I'm down in Brookline. We do

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most of our own mixing. Yeah, while we're practicing and rehearsing, okay,

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but for gigs, it's nice to have somebody out in

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the field.

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Speaker 9: Yeah, so yeah, absolutely, Yeah, that's something a lot of

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bands don't have, is kind of a dedicated sound guy,

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because you know, you're you gotta play. You go to

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play these places, especially if you're playing a new place, right,

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you're kind of at the mercy of whoever's there. Yeah,

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I mean we do, like obviously, we prefer to play

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places that have a dedicated sound system and a sound

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engineer so we don't have to lug our pa.

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Speaker 1: I mean, I think every band's dream so as we

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grow it's obviously one of the things that we like

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to do. But there's also gigs like Panucci's Alehouse in

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Nashua where we have to bring our own stuff and

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we want to pay homage to that were their first

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ones to give us a gig back in the day,

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so we always made we always circle back there every

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year or two at least to play one Gigah. We

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just love playing downtown Nasha as well.

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Speaker 9: Oh yeah, absolutely no, it's wonderful there, very good. So

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now tell us about that song live for Live music.

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How long has that been out?

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Speaker 1: Well, we really Oh no, it's actually been out. It

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got released on June twenty eighth out into the streaming web,

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so it's pretty much available. Ok We we wrote it

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this winter. I think we started on it in February

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and it was really Druze kind of vision to come

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up with it, and he wrote kind of really the

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chord progression and what we're gonna do, although it's I

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think it's a two chord song, so it's not a

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huge progression.

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Speaker 12: Well okay, it's it's started off as kind of a

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play for if if you ask Alexa to play a

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song on Spotify, Yeah, if you ask her to play

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Jimmy Hendrix, It'll say live at Fillmore East, and so

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I kept feeling like, I love that play on Live

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for Live for and so kind of we're riffing on

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that a little bit and then and then you know,

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this is the great thing about playing with this band

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is you come with just a couple of chords and

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and it's there's really no predefined Hey, you've got to

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play this part or you got to play that part.

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It's let's just see what comes out of it, starting

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with a riff. And so we we did that once

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and then then Eric and I just kind of hooked

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up on some of the lyrics and next thing I know,

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we had we had the full song.

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Speaker 9: Oh that's cool. I always say, too, when when it

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when it comes easy like that, right, that's how you

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know you've really got something. Yes, yeah, yeah, yeah.

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Speaker 1: The the music just tells me what to write, because

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I wrote the lyrics in this song with some of

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Drew's foundation, and the other guy's really produced a lot

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of the music side of it.

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Speaker 9: Yeah, we wrote it.

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Speaker 1: It's actually a love story about kind of our cheating

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rock and roll love story. I should say, if you

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listen to what. I go to the show with my girlfriend.

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Then I end up meeting this girl behind the stages

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in the band and then having kids and coming back

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in the circle. So my girlfriend, I didn't think, is

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very impressed with the song. But I didn't even realize

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that when I was writing it. It just flowed. The

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music told me what to put on paper, and we

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kicked it around at a rehearsal and practice a few

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times and realized, yeah, let's let's get this in the studio.

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Speaker 9: Kind of like your own version of uh love the

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one you're with right, Yeah, Yeah, we like the Isley

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Brothers version.

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Speaker 1: Got killer groove to it, right, But yeah, speaking coming

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back to the Range, that's I don't know if you

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guys have ever been there before, but it's an outdoor

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venue in Mason, New Hampshire.

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Speaker 9: I've heard a lot about it.

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Speaker 1: It's just the place is magical. It's family run and

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we we love playing there for their cruise nights. Yeah,

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our date this year got rained out, but we've been

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there a couple time in the past few years and

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I go to shows there a lot. And it's right

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down the road from my house in Hollis and it's

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in the middle of the Woods, and like I said,

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it's magical, so we wanted to write a story. Yeah,

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I love story about it, and that's that's what came out.

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Speaker 9: Yeah. Yeah, very cool. So how long has jam Demick

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been around cause I assume it hasn't been the same

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lineup the entire time the band is, or maybe it has,

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I don't know.

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Speaker 1: We've had a couple different iterations. We had a previous drummer,

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Chris McCartney, that kind of got us started. I think

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we started shortly before COVID. It was probably twenty nineteen,

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end of twenty nineteen around. I always have parties at

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my house because I live on the lake in Hollis, Yeah,

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and I've always you know, Joe's played there several times

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with his band, So I was always hiring bands to

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come and play and selling tickets and having people in

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the backyard, yeah, tents and food trucks and it was just,

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you know, a big event. And every time I'd go

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to hire a band, it's more and more money for

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a PA. And I figured, you know what, wouldn't it

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be great to have my own PA and my own band.

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And I had dabbled with bass a little bit and

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then after one of the open mics that we did

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kind of at my house jam parties during Halloween. I

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thinks's Chris came down and played some harp. Joe was

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playing guitar. There was the electronic drum kit in the corner. Yeah,

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and I think that started the juices flowing. And then

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Chris's wife sent a message to me and said, hey,

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Chris had a great time playing music. You guys should

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start a band.

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Speaker 11: Yeah, that was the end. That was the beginning of it.

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Oh wow.

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Speaker 1: Yeah, and then Covid hit and you know, we we

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really kind of had to take a year off. Yeah,

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talked a lot about what to do, but maybe not

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a year. But we we would separate in the backyard

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by fifty feet with you know, fifty foot xl R cables. Yeah,

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it was a little ridiculous, and that's where the name came.

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Speaker 9: So yeah, so I wondered about that.

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Speaker 1: Yeah, to play on the pandemic and our first actual

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band name was Covid Operations And that lasted about ten

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minutes and then we realized that's not something we ever

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want to have in a band. You know how band

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practices go. There were other influences in the room.

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Speaker 9: I love I love hearing about rejected band names.

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Speaker 1: That's ally So yeah, that was it, that one uh

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that we thought that was pretty pretty catchy. And then

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our old keyboard player, Nick George's came up with jam Demic.

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We're just kicking ideas around one night and that was

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just in passing and I jumped on it, and Facebook

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slash jamdemic was available, jamdemic dot com was available, so

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we just embraced it. And the nice thing about that

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is we're the only band in the world jam Demic.

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You we show up no matter where you are, and

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it's nice to have something original like that.

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Speaker 9: Yeah, that's That's important when picking a band name is

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is you know, coming up with something that's that's you're

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not gonna find out, oh, you know, ten other bands

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already have this name.

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Speaker 1: And yeah, I think the key to finding a band

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name now is to buy one of those magnetic poetry

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kits and you throw it on the fridge and you

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take all the connecting words off, and you put all

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the nouns on and you just picked three of them

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and and there's your band names.

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Speaker 11: Good for lyric writing too, Well.

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Speaker 1: That's what Tom Petty did. I heard they wrote a

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whole album based on one of those magnetic kits Relliant. Yeah,

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I don't know what album it was, but I read

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that somewhere recently online that they wrote a whole album

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based on one of those kits. Every song is based

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on one of those magnetic kits. Just by taking the

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shows goes to show you how much of a master

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Tom Petty was as a lyricist. Right to be able

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to write all that, right, that's impressive.

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Speaker 9: So when you guys, you probably these songs, I would

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imagine they do. They change when you play them live,

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Like a song like live for live music. If I

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were to hear you live, it's not gonna sound exactly

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like that, right, because it seems like it kind of

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gives you some freedom to, you know, if you want

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to play it longer, if you want to extend the

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solo or something.

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Speaker 13: Yeah, a song like that, definitely it has some space

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in the middle where you can take off and just

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bring it to somewhere else. And that's what we like

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to do, kind of like as the name, like you know, jams,

250
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but we can just jam and see.

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Speaker 11: Where it goes.

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Speaker 9: Yeah, a lot of improv I can imagine. Yeah, yeah,

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I can imagine. So a song like that, so obviously

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you know the length that it is the studio version,

255
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it's is good for radio. But I mean, and that's

256
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like how long does a song like that get when

257
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you play it live? Does it pass like six seven minutes?

258
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Speaker 4: Or it can?

259
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Speaker 1: I mean I would say some of our extended cuts

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of different things can go up to ten minutes. Yeah,

261
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like we like a lot of Jerry band stuff as well. Yeah,

262
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like what that's what Leve will make you do, and

263
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that can just go solo after solo and just change

264
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your tone a little bit on you know, like Jerry

265
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used to do, or Drew will change his tone on

266
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the sacks and yeah, Chris will go round on keys

267
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and then he'll pick up the harmonica.

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Speaker 9: Yeah.

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Speaker 1: I just sit back and watch, yeah, and it's it's nice.

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But yeah, I would say it depends on also the

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gig that we're doing, Yeah, and looking at the crowd

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and kind of I guess that's all decisions that we

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make on the fly.

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Speaker 9: Sure, sure, so you really know.

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Speaker 1: It's it's kind of an open uh an open book.

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Speaker 9: But it's important right to play with people who you

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kind of have. It becomes kind of intuitive right when

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you're I'm fascinated by because I've been in a lot

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of bands, but I was never in a band where

280
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you kind of had that sort of freedom.

281
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Speaker 10: To Yeah, so that's that's that's the tricky thing, right.

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It's it's this opportunity to express yourself and and to

283
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and to go on flights. But you have to do

284
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coordination too, right, You've got to be able to communicate.

285
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And I think it's something that a lot of bands

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probably aspire to, and I know we are constantly aspiring

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to be a better jam band. Yeah, it's not something

288
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that necessarily just happens. You have to You kind of

289
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have to plan for it and then sort of step

290
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away and let it happen. It's tricky. So yeah, you know,

291
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so writing a writing a song like like libal live music,

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we we we knew that. Okay, we want this to

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be a jam song. We want to we want to

294
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field in areas where this can just take we can

295
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just take it for a ride. Yeah, And what Eric's

296
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talking about passing around solos is great, but then sometimes

297
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there'll be a synergy and two guys will lock onto

298
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something and it starts. You can start taking it somewhere else. Yeah,

299
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and that's when it gets really fun.

300
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Speaker 9: Yeah, I can imagine. So does it ever go wrong?

301
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Speaker 3: Does it?

302
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Speaker 9: Yeah? Yeah, it takes a lot of fine tuning.

303
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Speaker 13: Yeah, but without taking that chance, you can't, you know,

304
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maybe come up with something great, right, right, And it's

305
00:16:31,360 --> 00:16:33,519
nice when it pays off and something really walks in.

306
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Speaker 10: Yeah, And it's just fun too. It's kind of like

307
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when it when it crash. If it crashes, you're kind

308
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of like, oh, well it didn't work, but that was

309
00:16:40,799 --> 00:16:43,279
really fun trying, right, you know. Yeah, it's not the

310
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end of the world. Yeah, the song doesn't stop.

311
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Speaker 11: Bob Ross's a happy accident, right right, right.

312
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Speaker 9: And if you're and if you're playing original music in

313
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front of a crowd, I mean, they don't they don't

314
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necessarily know, right exactly, they don't know. They don't know

315
00:16:56,000 --> 00:16:56,840
that didn't quite work.

316
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Speaker 1: It's one of the best things about original music. When

317
00:16:59,399 --> 00:17:01,679
you're paying playing a cover, you know, I mean I

318
00:17:01,879 --> 00:17:03,919
like to play covers the way they should be played,

319
00:17:04,119 --> 00:17:06,960
and Chris likes to add a personal flare to it,

320
00:17:07,200 --> 00:17:09,960
and I always like to stick somewhat rigid, so you know,

321
00:17:10,079 --> 00:17:12,200
we we bounce back and forth on that. But I

322
00:17:12,240 --> 00:17:14,680
think some of the covers we do, you know, people

323
00:17:14,759 --> 00:17:17,640
expect it to be that way, and any mistake is

324
00:17:17,680 --> 00:17:20,400
a glaring mistake. Usually you know, that was only a

325
00:17:20,480 --> 00:17:24,160
half away from the right note. You know, things like that.

326
00:17:24,359 --> 00:17:26,519
It just people will notice it. But then again, as

327
00:17:26,559 --> 00:17:29,720
a musician, most people don't notice it in the crowd, right,

328
00:17:29,799 --> 00:17:33,640
they're drinking, they're chatting. Right, You shouldn't worry about that

329
00:17:33,720 --> 00:17:35,119
stuff because it happens everybody.

330
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Speaker 9: Yeah, I just feel like with covers too, I see,

331
00:17:38,039 --> 00:17:41,599
I like it if it's not exactly you know. My

332
00:17:41,720 --> 00:17:43,279
thing is if I want to listen to the original,

333
00:17:43,319 --> 00:17:45,039
I can go listen to the original, like I want

334
00:17:45,079 --> 00:17:47,480
to hear your interpretation of it, you know what I mean?

335
00:17:48,000 --> 00:17:48,640
Speaker 10: More interesting?

336
00:17:48,880 --> 00:17:50,200
Speaker 9: Yeah, yeah, yeah.

337
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Speaker 1: Sometimes I think as a as the lead singer or

338
00:17:52,720 --> 00:17:56,000
a singer, I want to sing it that way. Yeah,

339
00:17:56,240 --> 00:17:58,160
And it's it's because it's locked in my head. It

340
00:17:58,240 --> 00:18:01,519
allows me to produce it better because I've I've got that.

341
00:18:01,680 --> 00:18:03,839
And then the reason I like the song is because

342
00:18:03,880 --> 00:18:06,920
of the way they sang it. That little bass riff

343
00:18:07,079 --> 00:18:09,519
or whatever riff was in there. So I think, paying

344
00:18:10,200 --> 00:18:12,000
make sure make sure some of that's in there for me.

345
00:18:12,559 --> 00:18:14,279
But again, that's kind of what's nice about it. Chris

346
00:18:14,440 --> 00:18:16,240
is the ying and I'm the yang.

347
00:18:16,039 --> 00:18:17,759
Speaker 10: And you'll always be pulling away from that.

348
00:18:18,000 --> 00:18:20,440
Speaker 1: Oh yeah, just the way it is. And then there's

349
00:18:20,440 --> 00:18:23,319
a compromise. We're a democratic band, so we vote on

350
00:18:23,359 --> 00:18:26,200
a lot of stuff, right, is nobody's decision. You know,

351
00:18:26,599 --> 00:18:29,279
I might lay an idea out there, but we will

352
00:18:29,359 --> 00:18:31,400
vote on it and majority wins.

353
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Speaker 11: Yeah, yeah, something We're working on him.

354
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Speaker 10: You know, he's coming along right, right.

355
00:18:39,400 --> 00:18:41,720
Speaker 9: What what what do you guys do for covers? Because

356
00:18:41,720 --> 00:18:43,680
I always think, you know, you can kind of figure

357
00:18:43,680 --> 00:18:47,119
out about someone's influences by what they cover, right, Like,

358
00:18:47,200 --> 00:18:48,759
what do you guys? What do you guys do for covers?

359
00:18:48,799 --> 00:18:51,359
Speaker 10: All right? My favorite cover is the other one by

360
00:18:51,440 --> 00:18:55,039
Grateful Dead. We just love that thing because it's so

361
00:18:55,880 --> 00:18:59,480
it's you can take that anywhere. Yeah, so that's my

362
00:18:59,519 --> 00:19:00,359
favorite cover to play.

363
00:19:00,519 --> 00:19:02,559
Speaker 9: Well, what's yours one of my favorites as well.

364
00:19:02,759 --> 00:19:04,359
Speaker 10: That has a lot of decent drums in it.

365
00:19:04,599 --> 00:19:06,839
Speaker 11: Yeah, like that one.

366
00:19:07,079 --> 00:19:09,440
Speaker 13: This is Joe speaking, but that one's way out in

367
00:19:09,880 --> 00:19:12,720
you know, left field, but which is which is fine

368
00:19:12,759 --> 00:19:15,599
to do that, but I sometimes try to ground it

369
00:19:15,640 --> 00:19:18,839
a little bit. My influences were like Hendrix and you know,

370
00:19:19,000 --> 00:19:23,279
bluesy guitarist things. But but you also use that type

371
00:19:23,319 --> 00:19:26,839
of style on top of a like a psychedelic groove

372
00:19:26,960 --> 00:19:29,640
like like that one. Yeah, and I think it kind

373
00:19:29,680 --> 00:19:31,839
of like homes hondes it in a little bit and

374
00:19:32,279 --> 00:19:35,920
rounds it. Yeah, and but I can I could get.

375
00:19:35,839 --> 00:19:37,440
Speaker 11: Out there too, you know, which is a lot of fun.

376
00:19:37,519 --> 00:19:38,400
Speaker 9: Sure, sure, Yeah.

377
00:19:39,079 --> 00:19:40,720
Speaker 1: We play a lot of dead covers. I mean, I

378
00:19:40,839 --> 00:19:43,559
love trucking and things. But I think some of our

379
00:19:43,599 --> 00:19:46,039
favorite new recent ones that we've been doing is Light

380
00:19:46,119 --> 00:19:48,720
Up or Leave Me Alone by Traffic. I really enjoy

381
00:19:48,799 --> 00:19:51,119
that one. Yeah, It's just such a great song and

382
00:19:51,200 --> 00:19:54,359
I love to sing it. It's just something about Jim

383
00:19:54,440 --> 00:19:56,680
Vivaldi's voice on that. A lot of people think it

384
00:19:56,720 --> 00:19:58,240
was Stephen Winwood singing it, but it's not.

385
00:19:59,400 --> 00:20:01,759
Speaker 9: Yeah, I don't. I don't think I even realized.

386
00:20:01,440 --> 00:20:03,920
Speaker 1: Yeah it's Vivaldi. It's the other guy in the band.

387
00:20:04,119 --> 00:20:08,200
Oh and it's just uh, I love singing that song

388
00:20:08,240 --> 00:20:10,119
and something about it, you know, you get to really

389
00:20:10,200 --> 00:20:10,799
get in on it.

390
00:20:11,079 --> 00:20:11,279
Speaker 3: Yeah.

391
00:20:11,680 --> 00:20:13,240
Speaker 1: We do a Long Way to the Top by a

392
00:20:13,400 --> 00:20:15,400
c D. I mean, that's a lot of fun. We

393
00:20:15,400 --> 00:20:16,079
haven't played that in.

394
00:20:16,039 --> 00:20:16,559
Speaker 9: A year or two.

395
00:20:16,640 --> 00:20:18,759
Speaker 1: I also really like one of the songs Joe brought

396
00:20:18,759 --> 00:20:21,680
in them changes by Buddy Miles, Yeah with you know,

397
00:20:21,759 --> 00:20:24,640
made famous by Jimmy Hendricks. Of course. It's just he's

398
00:20:24,759 --> 00:20:27,359
just such a good front front man showman on that

399
00:20:28,640 --> 00:20:30,720
and great guitar work. It's just a lot of fun

400
00:20:30,799 --> 00:20:31,319
to play.

401
00:20:33,400 --> 00:20:35,160
Speaker 9: Now when you so, when you guys play out, you

402
00:20:35,359 --> 00:20:38,559
you probably do long shows, right, like you'll do I

403
00:20:38,640 --> 00:20:41,839
can imagine, right, you play a long set probably like

404
00:20:41,920 --> 00:20:43,599
you're you don't seem like a band that's gonna get

405
00:20:43,680 --> 00:20:45,240
up and do a thirty minute you know.

406
00:20:45,400 --> 00:20:47,200
Speaker 1: Now we'll go over an hour hour and up to

407
00:20:47,279 --> 00:20:49,960
an hour and a half. Yeah, a few minute break

408
00:20:50,119 --> 00:20:53,160
usually play Yeah, two long sets yeah for the most part.

409
00:20:53,240 --> 00:20:55,640
Depends on really what the venue wants as well. Yeah,

410
00:20:55,720 --> 00:20:59,240
they'll dictate, or we're doing a private party, we could

411
00:20:59,240 --> 00:21:01,000
play for two two and a half hours straight.

412
00:21:01,359 --> 00:21:01,559
Speaker 11: Yeah.

413
00:21:02,319 --> 00:21:04,039
Speaker 13: That's one thing when I go in and see a band,

414
00:21:04,799 --> 00:21:07,400
it's just always inevitable that I walk in and the

415
00:21:07,480 --> 00:21:09,759
band takes a break right away. Yeah, and it's like

416
00:21:09,880 --> 00:21:12,359
they don't you don't see him for like twenty five minutes. Yeah,

417
00:21:12,480 --> 00:21:15,400
and you know, and then then it's time, you know,

418
00:21:15,480 --> 00:21:18,559
we'll go on somewhere else. But it's nice when yeah,

419
00:21:18,680 --> 00:21:20,759
a band is there to play and they just yeah

420
00:21:20,880 --> 00:21:21,359
deliver the.

421
00:21:21,599 --> 00:21:24,440
Speaker 9: Oh absolutely in music because when bands take breaks to

422
00:21:24,519 --> 00:21:27,160
it's never as long as you know, it always ends

423
00:21:27,240 --> 00:21:29,359
up being much longer than what it's supposed to be. Yeah,

424
00:21:29,480 --> 00:21:31,240
you know, like we're going to take a ten minute

425
00:21:31,240 --> 00:21:35,119
break and then you know, a half hour later there finally, yeah,

426
00:21:35,160 --> 00:21:39,920
they're getting back up there. Yeah, now tell us about this.

427
00:21:40,440 --> 00:21:43,079
So this other track, So we we played Live for

428
00:21:43,160 --> 00:21:45,519
Live Music to open the show, But you've got this

429
00:21:45,759 --> 00:21:48,240
other song that that I think we should play in

430
00:21:48,319 --> 00:21:50,839
a moment. But this is already getting some airplay on radio.

431
00:21:50,880 --> 00:21:52,319
You're already getting traction with this one.

432
00:21:53,000 --> 00:21:55,279
Speaker 1: Well, we got traction with Live for lad Music. As

433
00:21:55,319 --> 00:21:58,759
I said, it was played on another major station on Boston.

434
00:21:59,119 --> 00:22:01,200
Oh the new but the new one is not be

435
00:22:01,200 --> 00:22:01,559
and played.

436
00:22:01,559 --> 00:22:01,920
Speaker 11: This will be.

437
00:22:02,240 --> 00:22:04,519
Speaker 1: This will be a world radio premiere if you choose

438
00:22:04,559 --> 00:22:07,920
to play took Me Down. And that's ironically that's another

439
00:22:08,000 --> 00:22:10,559
love story. I think that's a whole nother story in itself.

440
00:22:10,759 --> 00:22:13,240
Because I tend to write lyrics that are based on

441
00:22:13,480 --> 00:22:18,240
tragic love stories or just maybe how much I had

442
00:22:18,279 --> 00:22:21,039
to drink the night before old college, you know, just

443
00:22:21,200 --> 00:22:24,480
more drug sex and rock and roll. And yeah, Chris

444
00:22:24,640 --> 00:22:27,480
is the other writer, and he tends to write songs

445
00:22:27,519 --> 00:22:31,599
that are just much more in depth and thoughtful. Or

446
00:22:31,720 --> 00:22:33,640
you know how many mushrooms it takes to get to

447
00:22:33,720 --> 00:22:34,640
the fifth dimension?

448
00:22:36,720 --> 00:22:37,319
Speaker 9: How many.

449
00:22:38,960 --> 00:22:42,599
Speaker 1: We don't know, we're still researching, Okay, But so I

450
00:22:42,680 --> 00:22:45,119
think it's just it's an interesting difference. And that's I

451
00:22:45,200 --> 00:22:48,119
think also add some variety, but took me down as

452
00:22:48,119 --> 00:22:52,119
as a reggae themed jam love story that I wrote

453
00:22:52,119 --> 00:22:54,839
as well. These guys wrote the music I wrote.

454
00:22:55,039 --> 00:22:57,000
Speaker 12: I wrote the lyrics, and you'll hear it in the song,

455
00:22:57,079 --> 00:22:58,359
right this This is one of those songs when you

456
00:22:58,440 --> 00:23:00,799
hear you go, okay, I can see where this this

457
00:23:00,960 --> 00:23:03,359
band can go in a lot of different directions on

458
00:23:03,480 --> 00:23:05,799
anyone given night. There's there's a lot of different places

459
00:23:05,880 --> 00:23:09,079
this one can take off or come back to. And

460
00:23:09,359 --> 00:23:11,079
and yeah, I think it's a it's a showcase for

461
00:23:11,240 --> 00:23:13,720
us of of like I said, Eric's Eric's writing of

462
00:23:13,759 --> 00:23:15,480
being able to come up with with lyrics to two

463
00:23:15,480 --> 00:23:17,200
different jams we do. I mean, this was again one

464
00:23:17,240 --> 00:23:21,279
that we literally, CHRISTI goes, why are we even thinking

465
00:23:21,279 --> 00:23:22,359
about covering another song?

466
00:23:22,480 --> 00:23:23,839
Speaker 9: Like, let's make our own original?

467
00:23:24,000 --> 00:23:26,519
Speaker 12: And within within I think five minutes, we had a

468
00:23:26,559 --> 00:23:28,799
good groove going going, we had we had a hook

469
00:23:28,839 --> 00:23:32,039
we wanted to do, and within another practice it was okay,

470
00:23:32,079 --> 00:23:32,599
we've got something.

471
00:23:32,680 --> 00:23:33,440
Speaker 11: We've got something here.

472
00:23:33,680 --> 00:23:35,039
Speaker 9: Yeah, oh very cool.

473
00:23:35,119 --> 00:23:35,319
Speaker 11: Yeah.

474
00:23:35,440 --> 00:23:36,680
Speaker 9: I got to ask you, is there is there an

475
00:23:36,720 --> 00:23:37,799
actual band named Tweezer?

476
00:23:38,160 --> 00:23:38,200
Speaker 3: No?

477
00:23:38,359 --> 00:23:40,599
Speaker 9: No, this is a fish reference. Oh this is the

478
00:23:40,920 --> 00:23:45,240
you know, the infamous Tweezer. Oh okay, encore song. I

479
00:23:45,279 --> 00:23:46,440
don't know if there was a Weezer.

480
00:23:46,240 --> 00:23:51,920
Speaker 1: Covering somewhere in the world. A band is writing that

481
00:23:52,039 --> 00:23:52,640
down right now?

482
00:23:52,799 --> 00:23:55,759
Speaker 9: That's right, I hope, so, I hope. So all right,

483
00:23:55,839 --> 00:23:58,359
so let's give this a spin. And uh so this

484
00:23:58,559 --> 00:24:00,400
is a World Radio premiere which we as you get

485
00:24:00,440 --> 00:24:04,160
the special World Radio Premiere bumper, which I will use

486
00:24:04,200 --> 00:24:08,640
any excuse to play that. But let me make sure

487
00:24:08,680 --> 00:24:09,920
I got the track pulled up here?

488
00:24:10,799 --> 00:24:11,400
Speaker 11: Where did it go?

489
00:24:11,599 --> 00:24:12,079
Speaker 3: Where did it go?

490
00:24:12,160 --> 00:24:17,039
Speaker 9: I had it? Oh, took me down, took me down

491
00:24:17,119 --> 00:24:20,519
there it is found it? Okay, so here we go.

492
00:24:20,799 --> 00:24:24,920
So this is the World Radio Premiere. I'm having trouble

493
00:24:24,960 --> 00:24:27,039
loading it up. There we go. I got it. This

494
00:24:27,200 --> 00:24:29,920
is the world radio premiere, first time ever. You'll be

495
00:24:30,000 --> 00:24:32,920
hearing this on the radio on Matt Connorton unleased here

496
00:24:32,960 --> 00:24:35,000
on WM and H ninety five point three FM. This

497
00:24:35,160 --> 00:24:37,000
is Jandemic with took me down.

498
00:25:10,799 --> 00:25:12,440
Speaker 4: Surely I was, darling.

499
00:25:13,240 --> 00:25:15,119
Speaker 6: It's beautym at the beast.

500
00:25:16,240 --> 00:25:17,160
Speaker 4: You gave your lave.

501
00:25:17,640 --> 00:25:20,799
Speaker 6: It took me down. He stole my heart with diesel.

502
00:25:21,039 --> 00:25:34,920
You drag me into your will.

503
00:25:35,119 --> 00:25:40,920
Speaker 1: Heart opened up my eyes. You're my partner him this world,

504
00:25:41,359 --> 00:25:43,440
My heart is hypnotis for you.

505
00:25:57,240 --> 00:26:08,920
Speaker 3: It tucked me down and tupped me down and took

506
00:26:09,039 --> 00:26:15,039
me down, up and took me down.

507
00:26:29,000 --> 00:26:30,559
Speaker 4: Don't it happened with you?

508
00:26:31,359 --> 00:26:33,200
Speaker 6: It's the joy of my life.

509
00:26:34,319 --> 00:26:37,759
Speaker 1: I love you so much, baby, I love you. I

510
00:26:37,960 --> 00:26:54,319
saw my mine build this joy together, the honey bond,

511
00:26:54,440 --> 00:26:59,079
this pack of life. Take this ring, my darling girl.

512
00:26:59,680 --> 00:27:01,519
Won't you see my wife.

513
00:27:01,440 --> 00:27:27,599
Speaker 3: Y talk me down, tuk me down and to me down,

514
00:27:32,079 --> 00:27:32,839
then took me.

515
00:27:32,960 --> 00:28:44,559
Speaker 4: Down surely almost darling.

516
00:28:45,359 --> 00:28:47,240
Speaker 1: It's beauty at the beast.

517
00:28:48,319 --> 00:28:49,240
Speaker 4: He gave you lave.

518
00:28:49,680 --> 00:28:52,920
Speaker 1: It took me down and stole my heart with easel.

519
00:28:53,079 --> 00:29:08,319
Speaker 5: You wrap your arms around me, then you can oom

520
00:29:08,440 --> 00:29:11,559
me also type, wrap your.

521
00:29:11,640 --> 00:29:15,160
Speaker 1: Arms around me, jump and move me up to my life.

522
00:29:15,200 --> 00:29:16,079
Speaker 3: For years.

523
00:29:29,359 --> 00:29:41,039
Speaker 1: It took me down, then tut me out and talk

524
00:29:41,160 --> 00:29:41,920
me down.

525
00:29:46,079 --> 00:29:47,200
Speaker 4: And talk me down.

526
00:30:41,279 --> 00:30:42,960
Speaker 9: I love that. I didn't even want to talk over

527
00:30:43,039 --> 00:30:45,880
the fade. That is called took Me Down. The band

528
00:30:45,960 --> 00:30:48,559
is Jam Demick and we've got jan a Jam Demic

529
00:30:48,599 --> 00:30:51,240
here in the studio with us, and that is called

530
00:30:51,279 --> 00:30:53,599
took Me Down. And that is a world radio premiere

531
00:30:53,720 --> 00:30:56,839
here on Matt Connorton Unleashed. Very honored to play that,

532
00:30:57,000 --> 00:30:58,480
be the first ones to play that on the radio.

533
00:30:58,599 --> 00:31:00,400
So now a great job, guys. I love that. Thank

534
00:31:00,400 --> 00:31:02,200
you so much, really really good.

535
00:31:02,359 --> 00:31:02,519
Speaker 3: Yeah.

536
00:31:02,599 --> 00:31:04,759
Speaker 9: So tell us we're talking off here about where there

537
00:31:04,880 --> 00:31:07,799
was recorded and you mentioned a name that comes up

538
00:31:07,839 --> 00:31:08,519
a lot on the show.

539
00:31:08,599 --> 00:31:13,480
Speaker 1: Actually, yeah, Boardhouse Productions out of Brookline. So Pete, Mick

540
00:31:13,559 --> 00:31:16,480
and Blake are the guys that had that place up

541
00:31:16,720 --> 00:31:21,200
and he's you know, in Brookline, New Hampshire. And you know,

542
00:31:21,279 --> 00:31:24,039
we are the resident band at a place called Big

543
00:31:24,119 --> 00:31:27,079
Bear Lodge, which is part of Andrea's Art Institute. It's

544
00:31:27,079 --> 00:31:29,799
an outdoor sculpture park and they have an events center

545
00:31:29,920 --> 00:31:32,319
up there and we've had an opportunity to come in

546
00:31:32,400 --> 00:31:35,559
and help them with their concerts, okay, and they're like, hey,

547
00:31:35,640 --> 00:31:38,160
you can use the stage every week for your rehearsal.

548
00:31:38,279 --> 00:31:40,359
So we it was great. We got all the gear

549
00:31:40,400 --> 00:31:42,759
out of my house and moved it up over there,

550
00:31:42,799 --> 00:31:45,079
so we get to rehearse on a stage. And just

551
00:31:45,200 --> 00:31:47,440
turns out Pete lives right down the road from that

552
00:31:47,799 --> 00:31:52,440
and Joe's played there before. Aerosmith that apparently has played there,

553
00:31:52,480 --> 00:31:55,119
We're not quite sure roots of creation. Just a bunch

554
00:31:55,200 --> 00:31:57,920
of Jay Giles band, a bunch of different people have

555
00:31:58,039 --> 00:32:02,440
played there. So having having that connection, Pete came in

556
00:32:02,559 --> 00:32:06,640
to help us with sound initially and donated a console,

557
00:32:06,839 --> 00:32:09,359
a newer console and all the rolland console to help

558
00:32:09,400 --> 00:32:11,559
the room kind of get a kick. We used our

559
00:32:11,680 --> 00:32:15,880
PA gear for the band as the house stuff. Yeah,

560
00:32:16,400 --> 00:32:19,160
And it was just that relationship with Pete developed, and

561
00:32:19,240 --> 00:32:22,279
then when we were ready to start producing these originals,

562
00:32:22,799 --> 00:32:24,839
that logical choice was to go down the road to

563
00:32:24,880 --> 00:32:26,480
Pete studio. Boardhouse Productions.

564
00:32:26,599 --> 00:32:28,839
Speaker 9: Yeah, yeah, Boardhouse. That name comes up a lot on

565
00:32:28,880 --> 00:32:31,680
the show. And you mentioned a couple again when we

566
00:32:31,759 --> 00:32:35,440
were talking off air Fox of the Flamingos that recorded there, right, and.

567
00:32:35,720 --> 00:32:40,319
Speaker 1: Yeah, Cosmic Blosso. He also does the sound for bad Fish,

568
00:32:40,359 --> 00:32:43,319
which is a Sublime tribute band. He also does all

569
00:32:43,359 --> 00:32:46,640
the productions or the majority of the man does sound

570
00:32:46,680 --> 00:32:49,440
on the road for Roots of Creation Okay, which is

571
00:32:49,480 --> 00:32:53,240
a real popular and grateful dub God bless those guys

572
00:32:53,279 --> 00:32:56,000
have really made a big name for themself and in

573
00:32:56,079 --> 00:32:59,319
this area and nationwide, really making a difference out there.

574
00:32:59,359 --> 00:33:01,720
So I think what Cosmic Blossom, There's a bunch of

575
00:33:01,799 --> 00:33:03,279
other bands that have come in and out of there

576
00:33:03,319 --> 00:33:06,359
that my apologies for not remembering them all. Pete has

577
00:33:06,359 --> 00:33:08,680
also worked I think with Peter Frampton, he did some

578
00:33:08,799 --> 00:33:11,920
stuff with He worked with Warren Haynes. Yeah, a long

579
00:33:12,039 --> 00:33:14,680
list of people, Yeah, Skinner and there's a long list

580
00:33:14,720 --> 00:33:18,279
of people that Pete's worked with. Wow, that's you know,

581
00:33:18,359 --> 00:33:20,200
it's just a logical choice to go there. And as

582
00:33:20,240 --> 00:33:23,079
you've heard, we love it. Yeah, he really is a

583
00:33:23,160 --> 00:33:23,920
master engineer.

584
00:33:24,119 --> 00:33:26,599
Speaker 9: Yeah, And tell us about that song and what happens

585
00:33:26,839 --> 00:33:28,799
towards the end there is that that's pretty cool.

586
00:33:28,839 --> 00:33:31,319
Speaker 1: That the little gnome dance. Yeah, thank you Pete for

587
00:33:31,519 --> 00:33:32,039
inventing that.

588
00:33:32,160 --> 00:33:34,519
Speaker 10: So, yeah, there's this is I think I'm guilty of

589
00:33:34,559 --> 00:33:37,319
the numb dance yeah, maybe I am. I always always

590
00:33:37,440 --> 00:33:41,880
I love those like kind of psychedelic little like ditties

591
00:33:41,920 --> 00:33:45,039
that sometimes hear old old psychedelic songs, like some Floyd

592
00:33:45,119 --> 00:33:48,400
songs like for instance, you know c Emily play there's

593
00:33:48,440 --> 00:33:52,039
that weird little harpsichord thing that goes on if you're

594
00:33:52,200 --> 00:33:54,480
familiar with that too. But anyway, so I don't know,

595
00:33:54,799 --> 00:33:57,680
that's part of like my musical DNA's he's weird like renaissance,

596
00:33:57,720 --> 00:34:01,400
he's psychedelic things. And so I started doing that, and

597
00:34:02,279 --> 00:34:07,119
Joe immediately hurt and fell in with that. And that's

598
00:34:07,440 --> 00:34:12,320
the magic that I loved. What happens when especially Joe

599
00:34:12,679 --> 00:34:16,119
Joe jo key into something and it becomes more than

600
00:34:16,239 --> 00:34:17,960
just a passing thought that I might have had. It

601
00:34:18,039 --> 00:34:19,920
suddenly becomes part of the song.

602
00:34:20,159 --> 00:34:22,800
Speaker 9: Yeah, and it fits, Yeah, it fits a little breakdown

603
00:34:22,880 --> 00:34:25,639
fits perfectly. Yeah. Yeah, it's really cool. Yeah.

604
00:34:25,679 --> 00:34:28,280
Speaker 1: So in the studio when we played that, Pete got

605
00:34:28,360 --> 00:34:30,599
up from behind the console and did this little called

606
00:34:30,639 --> 00:34:33,159
it called it the Fairy Gnome Dance because it sounds

607
00:34:33,199 --> 00:34:37,679
a little you know, medieval, yeah, psychedelic, and it's it's

608
00:34:38,000 --> 00:34:41,360
it's just a different genre mix right into the reggae song. Yeah,

609
00:34:41,400 --> 00:34:42,320
you know, it's weird, but.

610
00:34:42,760 --> 00:34:43,719
Speaker 9: It works totally.

611
00:34:44,000 --> 00:34:45,760
Speaker 1: So it's just kind of funny. We talk about a

612
00:34:45,840 --> 00:34:48,400
week it's called the Gnome Dance, part of the Fairy Dance.

613
00:34:48,480 --> 00:34:49,320
Speaker 11: It's just funny.

614
00:34:49,480 --> 00:34:52,440
Speaker 9: Yeah, that's that's awesome. I love it and you should

615
00:34:52,440 --> 00:34:54,519
tell us you more about your involvement a Big Bear.

616
00:34:55,079 --> 00:34:57,280
Speaker 1: Yeah. So, as I said, with a resident band over there,

617
00:34:57,360 --> 00:34:59,840
and we helped produce the shows. I mean, I'm the

618
00:35:00,440 --> 00:35:02,360
one of the audio engineers, if you want to use

619
00:35:02,400 --> 00:35:05,159
that term loosely. I'm fairly new to all this stuff

620
00:35:05,280 --> 00:35:07,639
really obviously mix it all with my band, so I

621
00:35:07,800 --> 00:35:10,159
understand how to get the best sound out. My ears

622
00:35:10,199 --> 00:35:12,760
tell me what to do, but Pete has shown me

623
00:35:12,920 --> 00:35:15,679
a ton also Willie Walker from a band called the

624
00:35:15,760 --> 00:35:19,119
Mighty Colors. They've played with us at Big Bear. So

625
00:35:19,239 --> 00:35:23,320
we started an annual benefit over there for Earth Day.

626
00:35:23,440 --> 00:35:25,159
So we go in, we played for free. We pulled

627
00:35:25,159 --> 00:35:27,800
in the Mighty Colors. They played for free, and we

628
00:35:27,920 --> 00:35:30,440
sold tickets to the event and packed the room and

629
00:35:30,599 --> 00:35:35,559
made you know, Andrea's Institute, the nonprofit, a couple thousand dollars,

630
00:35:35,639 --> 00:35:38,199
and beaver Brook as well made a little bit of money,

631
00:35:38,239 --> 00:35:40,840
which is an environmental cause, so that was our goal

632
00:35:40,960 --> 00:35:43,239
is to raise and we just wanted to play in

633
00:35:43,320 --> 00:35:47,039
the room. That opportunity of us setting that benefit up

634
00:35:47,239 --> 00:35:49,960
now was a yearly opportunity. So last year we pulled

635
00:35:50,000 --> 00:35:53,639
in a morphous band with one of the original New

636
00:35:53,679 --> 00:35:57,079
England jam band guys, Peter Prince and Peter Prince in.

637
00:35:57,119 --> 00:35:57,800
Speaker 6: Moon Boot Lover.

638
00:35:57,920 --> 00:36:00,960
Speaker 1: Moon Boot Lover wasn't there, but Peter was just an

639
00:36:01,199 --> 00:36:06,719
amazing guitar player, singer, just unbelievable stage presence. Yeah, total

640
00:36:06,840 --> 00:36:09,079
rock star and his list of accolades just goes on

641
00:36:09,199 --> 00:36:11,480
and on and on. So having us being able to

642
00:36:12,239 --> 00:36:15,920
pull that show off, we ended up being asked to hey,

643
00:36:16,000 --> 00:36:18,800
do you want to help run shows and produce? So

644
00:36:18,920 --> 00:36:21,559
all we've done is try to help you push the

645
00:36:21,679 --> 00:36:25,400
technology over there, get better, get better console, better equipment,

646
00:36:25,480 --> 00:36:28,880
better lighting. So I install all DMX lighting, concert lighting,

647
00:36:29,559 --> 00:36:32,280
did all the got new parts of the stage really

648
00:36:32,360 --> 00:36:34,960
kind of the stage and sound manager and lighting guy

649
00:36:35,079 --> 00:36:39,079
over there, and it's been wonderful for networking. We've been

650
00:36:39,079 --> 00:36:42,000
able to network with you know, the Soggy Pull boys

651
00:36:42,039 --> 00:36:44,679
were just standing there. Recently have put you a feather

652
00:36:44,719 --> 00:36:47,119
in my cap for mixing them, and thank God for

653
00:36:47,199 --> 00:36:49,280
Willy from the Mighty Colors came in and helped me out.

654
00:36:50,119 --> 00:36:52,360
So he was lead, and I'll take a one engineer

655
00:36:52,559 --> 00:36:55,320
stage hand that day. And yeah, there's other guys that

656
00:36:55,400 --> 00:36:57,920
are willing to help, so they come in and I'll

657
00:36:57,960 --> 00:37:00,280
either have them be lead on the console or or

658
00:37:00,400 --> 00:37:02,760
I'll be lead and they'll it's just a great relationship.

659
00:37:02,880 --> 00:37:05,480
No one gets paid, but being able to have the

660
00:37:05,599 --> 00:37:09,480
room and what it's done for just our stage presence

661
00:37:09,519 --> 00:37:12,159
and everything has been it's been instrumental.

662
00:37:12,840 --> 00:37:15,320
Speaker 13: It's an old ski lodge actually from oh really yeah,

663
00:37:15,480 --> 00:37:18,280
used to be Musket Mountain or Big Bear really been

664
00:37:18,320 --> 00:37:20,119
a couple of different names, but I remember skiing there

665
00:37:20,119 --> 00:37:22,599
when I was a kid, and yeah, it's like an

666
00:37:22,639 --> 00:37:26,039
old you know, cathedral ceiling. It's a great hall, great

667
00:37:26,159 --> 00:37:28,840
sound in there and just a you know, very vintage

668
00:37:28,880 --> 00:37:29,280
feel too.

669
00:37:29,639 --> 00:37:29,840
Speaker 9: Yeah.

670
00:37:30,440 --> 00:37:32,880
Speaker 1: Probably one of the best sounding rooms in New Hampshire

671
00:37:33,199 --> 00:37:36,000
without a doubt, just because of all the wood. And

672
00:37:36,119 --> 00:37:38,400
we're looking at upgrading the PA equipment pretty soon so

673
00:37:38,480 --> 00:37:41,119
I can get my stuff out of there and getting

674
00:37:41,159 --> 00:37:43,880
a really really nice system that's going to arrival almost

675
00:37:43,920 --> 00:37:45,440
any PA in southern New Hampshire.

676
00:37:45,519 --> 00:37:45,920
Speaker 9: Oh wow.

677
00:37:46,360 --> 00:37:49,519
Speaker 1: So we have a really also close relationship with Metronome Studios.

678
00:37:50,119 --> 00:37:53,639
They're right in Brookline as well. We don't record there,

679
00:37:53,719 --> 00:37:56,920
but they also produce all the lighting and video up

680
00:37:56,960 --> 00:38:00,480
at Guildford for a bank in New Hampshire. Having those

681
00:38:00,519 --> 00:38:02,400
guys and they've been coming to help us out with

682
00:38:02,480 --> 00:38:04,360
a little bit of sound. We just put a brand

683
00:38:04,400 --> 00:38:08,559
new Barringer Wing forty eight channel console and Digital Snakes

684
00:38:08,639 --> 00:38:11,039
really upgrading everything so it's got the best sound and

685
00:38:11,480 --> 00:38:13,480
they've come in and helped me configure it. Pete came

686
00:38:13,559 --> 00:38:15,559
in for five or six hours the other day on

687
00:38:16,039 --> 00:38:18,199
no charge at all to help us configure this stuff.

688
00:38:18,719 --> 00:38:21,559
So it's kind of like a family atmosphere. And it's

689
00:38:21,840 --> 00:38:24,840
it's because this place is in a nonprofit and it's

690
00:38:24,880 --> 00:38:27,800
a free outdoor sculpture park that anybody can come at

691
00:38:27,800 --> 00:38:30,559
any time, open three hundred and sixty five days a year.

692
00:38:31,360 --> 00:38:34,519
But the Welcome Center has this amazing performance venue and

693
00:38:34,880 --> 00:38:37,360
they run concerts to try to get funds in to

694
00:38:37,480 --> 00:38:40,519
raise money for their nonprofit. It's a good yin yang relationship.

695
00:38:40,599 --> 00:38:43,039
I love it and it really helped the band out.

696
00:38:43,199 --> 00:38:47,119
Speaker 10: Yeah, it has, and a lot of people don't know

697
00:38:47,239 --> 00:38:51,360
about it because it went from being this skilage and

698
00:38:52,079 --> 00:38:56,679
this entertainment, you know kind of venue that then switched

699
00:38:56,719 --> 00:39:01,679
to a more that nonprofit than the artists thick side.

700
00:39:02,719 --> 00:39:06,480
The Sculpture Park is amazing. It's all outdoors on these

701
00:39:06,639 --> 00:39:10,039
trails and mountains on the mountain, and they have a

702
00:39:11,039 --> 00:39:14,599
residency program where these sculptures come from all over the

703
00:39:14,679 --> 00:39:18,920
world and spend whatever what like six weeks three weeks,

704
00:39:19,400 --> 00:39:22,599
and they're given a stone right or whatever medium they

705
00:39:23,639 --> 00:39:27,480
metal and they create work that then lives at the site.

706
00:39:28,559 --> 00:39:31,800
And so what Eric's done is kind of brought this

707
00:39:32,199 --> 00:39:36,960
closer to the community by reviving the sort of local

708
00:39:37,039 --> 00:39:40,480
connection that Big Bear used to have for like local

709
00:39:40,599 --> 00:39:43,360
music and people just going there to enjoy music. So

710
00:39:43,440 --> 00:39:47,400
it's kind of a new a symbiotic relationship. I think

711
00:39:47,440 --> 00:39:48,920
it's been great for both parties.

712
00:39:49,199 --> 00:39:50,239
Speaker 11: Really has Yeah.

713
00:39:50,400 --> 00:39:52,719
Speaker 9: Oh that's fantastic. Yeah, that's great. That's great.

714
00:39:52,840 --> 00:39:53,280
Speaker 10: And where is that?

715
00:39:53,480 --> 00:39:56,119
Speaker 1: So that's in Brookline, brook Line, New Hampshire, right across

716
00:39:56,119 --> 00:39:58,559
from the Alamo, which is a little barbecue restaurant.

717
00:39:59,280 --> 00:40:02,679
Speaker 9: Okay, okay cool. Eric's done a great job decking the

718
00:40:02,719 --> 00:40:03,599
place out with video.

719
00:40:03,719 --> 00:40:06,199
Speaker 1: Also, Oh really, uh yeah, it's really nice. So we

720
00:40:06,280 --> 00:40:08,400
have we just put in a ten ADP stage camera

721
00:40:09,400 --> 00:40:11,920
very much like yours there, so coming in the ceiling

722
00:40:12,079 --> 00:40:16,039
and we Dave Peas who's a volunteer over there also

723
00:40:16,119 --> 00:40:19,239
works for Pepperal Community Media. He's our video guy. He

724
00:40:19,360 --> 00:40:22,679
comes in has four ten ADP cameras or three ten

725
00:40:22,719 --> 00:40:25,519
ADP plus the stage camera that I just installed, and

726
00:40:25,599 --> 00:40:28,880
we have a video aggregator. So for shows we'll actually

727
00:40:29,000 --> 00:40:33,679
record all the stems on the digital console, all the

728
00:40:33,760 --> 00:40:37,079
wave files from every every channel, and we'll also have

729
00:40:37,199 --> 00:40:41,760
all this awesome video and then we're pitching that back

730
00:40:41,840 --> 00:40:45,639
to the bands because it's great for promo, right, having

731
00:40:45,760 --> 00:40:49,039
really good quality all the different cuts, and that helps

732
00:40:49,159 --> 00:40:52,400
us defer our costs from every concert make a little

733
00:40:52,400 --> 00:40:55,840
bit of money back. So it's really reasonable and it's

734
00:40:55,840 --> 00:40:57,400
so far it's been good. Some of the bands have

735
00:40:57,480 --> 00:41:00,440
wanted to do that. And now for us, every practice

736
00:41:00,480 --> 00:41:02,440
we get it for free. So I'm sticking the the

737
00:41:02,880 --> 00:41:05,679
SD card in we can record every practice. I then

738
00:41:05,760 --> 00:41:08,639
bring it home, pulled into to reaper our daw and

739
00:41:08,719 --> 00:41:10,360
then we put it up on Google Drive so we

740
00:41:10,440 --> 00:41:13,239
can hear our progress every week and our whole history

741
00:41:13,280 --> 00:41:16,039
is up there that we can go back on and

742
00:41:16,159 --> 00:41:18,800
look at our catalog and run a spreadsheet of everything.

743
00:41:18,840 --> 00:41:21,559
It's you know, I'm I'm pretty anal about that.

744
00:41:21,880 --> 00:41:22,880
Speaker 11: Eric's the technical guy.

745
00:41:23,199 --> 00:41:27,880
Speaker 1: I do all the social media. I do all the booking,

746
00:41:27,960 --> 00:41:32,480
all the promoll, everything that that is frontward facing is

747
00:41:32,599 --> 00:41:35,440
me because that's what I do for a living. I'm

748
00:41:35,599 --> 00:41:38,280
you know, I do digital marketing and kow and websites

749
00:41:38,320 --> 00:41:38,679
and stuff.

750
00:41:38,760 --> 00:41:41,840
Speaker 12: So if you've ever seen Semi Pro with Will Ferrell,

751
00:41:42,199 --> 00:41:44,039
he's a character in that called Jackie Moon.

752
00:41:44,559 --> 00:41:46,840
Speaker 9: Jackie Moon is you know, the he's the he's the

753
00:41:47,079 --> 00:41:49,920
you know, star player, he's the coach, he's the owner.

754
00:41:50,840 --> 00:41:52,800
Speaker 12: And so a lot of times I refer to Eric

755
00:41:52,840 --> 00:41:55,840
as our Jackie Moon because he's in the band, he's

756
00:41:56,079 --> 00:42:00,519
our manager, he's you know, the number one sound engineer.

757
00:42:00,719 --> 00:42:00,800
Speaker 3: Right.

758
00:42:01,119 --> 00:42:04,079
Speaker 12: But but you know, honestly, that the breakthrough for us,

759
00:42:04,159 --> 00:42:06,239
right having that access to that space at Big Bear,

760
00:42:06,559 --> 00:42:08,440
having that as a space, you know, set up and

761
00:42:08,480 --> 00:42:11,679
dedicated for us to be able to utilize that was

762
00:42:11,719 --> 00:42:13,360
I think a big breakthrough for us, and being able

763
00:42:13,400 --> 00:42:16,199
to work on original material because like we talked about, right,

764
00:42:16,280 --> 00:42:19,440
it's it's it's not the first idea, that's the best idea.

765
00:42:19,559 --> 00:42:19,679
Speaker 3: Right.

766
00:42:19,800 --> 00:42:22,159
Speaker 12: It's like Chris said, he puts that you know idea out,

767
00:42:22,280 --> 00:42:25,280
Joe latches onto it, Drew latches onto it, Rob what

768
00:42:25,639 --> 00:42:27,519
and it becomes something you didn't ever intend to in

769
00:42:27,559 --> 00:42:29,719
the beginning. And so just you know, by virtue of

770
00:42:29,760 --> 00:42:32,000
having some time and space in our calendars over the winter,

771
00:42:33,000 --> 00:42:33,800
Eric wi always.

772
00:42:33,559 --> 00:42:35,360
Speaker 9: Make sure everything we do is recorded.

773
00:42:35,440 --> 00:42:36,119
Speaker 11: I hear it from him.

774
00:42:36,119 --> 00:42:37,920
Speaker 12: If I turn off that mic for ten seconds, I

775
00:42:38,000 --> 00:42:40,559
hear about it the next ye But then allows us

776
00:42:40,559 --> 00:42:41,920
to go back through and go, oh that really worked.

777
00:42:41,920 --> 00:42:43,039
Speaker 9: Oh we could piece these together.

778
00:42:43,119 --> 00:42:45,199
Speaker 12: Hey, let's work on developing this one a little bit more,

779
00:42:45,599 --> 00:42:47,639
and you make progress in a really, you know, much

780
00:42:47,719 --> 00:42:49,639
quicker fashion than if you just try to you know,

781
00:42:49,760 --> 00:42:51,760
go in and hammer it out over over five to

782
00:42:51,840 --> 00:42:54,360
six hours, right, just kind of organically let it build.

783
00:42:54,400 --> 00:42:56,480
Come back to it each week and see what. See

784
00:42:56,519 --> 00:42:58,079
what comes you know, comes naturally.

785
00:42:57,840 --> 00:43:00,440
Speaker 9: To Yeah that makes sense. Yeah, No, that's great. That's

786
00:43:00,480 --> 00:43:03,519
that's really cool that you guys have that. Now, what's

787
00:43:03,559 --> 00:43:05,599
what's kind of the are you playing a lot of shows?

788
00:43:05,920 --> 00:43:07,480
Have you been playing a lot of shows over the summer,

789
00:43:07,559 --> 00:43:08,239
or what's kind of been.

790
00:43:08,400 --> 00:43:11,280
Speaker 1: Usually take a break in June July or really I

791
00:43:11,320 --> 00:43:13,880
think the end of June was our last show, okay,

792
00:43:14,519 --> 00:43:17,239
and then we usually take July off. Everybody's on vacation.

793
00:43:17,440 --> 00:43:21,320
It's a nightmare. Try to do all our booking in February, March,

794
00:43:21,360 --> 00:43:21,800
and April.

795
00:43:22,000 --> 00:43:23,920
Speaker 9: Oh year, oh really, and then.

796
00:43:23,840 --> 00:43:27,800
Speaker 1: We'll leave a couple of weekends open and some benefit

797
00:43:27,920 --> 00:43:30,039
or festival or something might come up and we've done.

798
00:43:30,159 --> 00:43:33,920
Like last year, we had a wedding and I can

799
00:43:34,000 --> 00:43:35,679
show this. This is the Camp Paul poster.

800
00:43:35,880 --> 00:43:36,880
Speaker 9: So yeah, yeah, we do.

801
00:43:37,159 --> 00:43:40,400
Speaker 1: Uh, we do custom posters and stuff for special events.

802
00:43:40,480 --> 00:43:45,400
And these people wanted to have a jam wedding, isn't it.

803
00:43:45,599 --> 00:43:48,320
So they ended up hiring hiring us to play this

804
00:43:48,719 --> 00:43:49,599
wedding festival.

805
00:43:49,679 --> 00:43:51,440
Speaker 9: Feel did you draw it yourself?

806
00:43:51,480 --> 00:43:51,880
Speaker 3: But you.

807
00:43:53,440 --> 00:43:56,559
Speaker 1: Guys talking about AI, right, I don't have a graphic artist,

808
00:43:56,679 --> 00:43:58,920
so we end up using some AI And then I'm

809
00:43:58,960 --> 00:44:01,000
a little bit I'm dany just with the graphic art.

810
00:44:01,079 --> 00:44:03,159
So I'll get in there and I'll do we'll touch

811
00:44:03,280 --> 00:44:05,920
up and obviously make all of the the wording and

812
00:44:05,960 --> 00:44:10,079
the lettering. I really do like how that you can

813
00:44:10,159 --> 00:44:12,559
tell AI is amazing for drawing stuff. But it can't

814
00:44:12,639 --> 00:44:16,239
spell at all, Like it'll take me a hundred times

815
00:44:16,320 --> 00:44:18,119
to get it to spell this, even though I put

816
00:44:18,159 --> 00:44:20,719
it in quotes and tell it what to do. You know,

817
00:44:20,800 --> 00:44:23,079
obviously this is a Chris is an artist, right, so

818
00:44:23,199 --> 00:44:26,679
that we have this discussion all the time. You know,

819
00:44:26,760 --> 00:44:30,679
it is his art getting stolen, and then if I

820
00:44:30,800 --> 00:44:33,519
ask it to paint a tar painting or something, is

821
00:44:33,599 --> 00:44:35,519
his art going to show up one day on a poster.

822
00:44:36,400 --> 00:44:38,320
But yet for a band it we don't You don't know.

823
00:44:38,400 --> 00:44:40,880
We don't have any money to put much towards this week.

824
00:44:41,079 --> 00:44:43,079
We have an expensive PA and we put everything we

825
00:44:43,159 --> 00:44:45,719
have in our time, But I can't hire a graphic

826
00:44:45,840 --> 00:44:49,360
artist at our small size forever doing Northlands or something

827
00:44:49,400 --> 00:44:51,280
we get picked for the side stage. Yeah, I'll hire

828
00:44:51,320 --> 00:44:54,679
somebody to actually draw a real poster. Sure, But AI

829
00:44:54,800 --> 00:44:57,679
has helped us out tremendously to get that promo out there.

830
00:44:57,840 --> 00:45:01,159
Speaker 10: Okay, oh cool, all right, no, no shame man. I

831
00:45:01,239 --> 00:45:03,760
think that AI is great for stuff like that. It's perfect,

832
00:45:04,280 --> 00:45:07,039
you know, because you're not asking it to replace, you know,

833
00:45:07,239 --> 00:45:11,039
a great artist. You just want an awesome marketing image.

834
00:45:11,519 --> 00:45:13,559
That's what Hey, guy's freaking great at.

835
00:45:13,599 --> 00:45:16,159
Speaker 1: Exactly who originally drew.

836
00:45:16,079 --> 00:45:20,519
Speaker 10: This, No, nobody. It's probably it's a composite, man.

837
00:45:20,639 --> 00:45:22,320
Speaker 1: So that's what I don't know if we know, no

838
00:45:22,480 --> 00:45:22,679
it is.

839
00:45:22,800 --> 00:45:25,760
Speaker 10: It's not just taken from somebody. It's a composite that's

840
00:45:25,840 --> 00:45:27,880
been taken from many places.

841
00:45:27,639 --> 00:45:30,639
Speaker 1: I hope. So that's the only thing that I worry about.

842
00:45:30,679 --> 00:45:34,159
Speaker 11: What it will take everything eventually.

843
00:45:34,639 --> 00:45:38,159
Speaker 10: Yeah, but here's the thing. It'll never be as creative

844
00:45:38,159 --> 00:45:39,199
as human beings are.

845
00:45:39,320 --> 00:45:41,920
Speaker 1: Right right, Yeah, No, that's true. That's true.

846
00:45:42,039 --> 00:45:42,519
Speaker 3: You know it.

847
00:45:43,840 --> 00:45:47,159
Speaker 10: If it comes down to it taking my image and

848
00:45:47,239 --> 00:45:50,840
putting it on something, why does that bother me? Because

849
00:45:51,800 --> 00:45:54,400
I think I'm owed something for that image. I personally

850
00:45:54,400 --> 00:45:58,079
don't feel that way. That's business. That's not art. That's

851
00:45:58,400 --> 00:46:01,519
what you do as a you know, for a job.

852
00:46:02,079 --> 00:46:05,119
I make images, But that's not really that's not great art.

853
00:46:05,159 --> 00:46:08,000
That's not pulling something from your soul, right, And AI

854
00:46:08,119 --> 00:46:10,960
doesn't have a soul to pull from, right. If anything,

855
00:46:11,000 --> 00:46:12,559
I would see it's not going to And what I

856
00:46:12,559 --> 00:46:16,159
would always see is that stuff's advertisement for my art.

857
00:46:16,320 --> 00:46:19,519
Like even people like putting their pictures of their paintings

858
00:46:19,559 --> 00:46:23,440
online and they put big copyright signs and stuff. Who cares, right,

859
00:46:23,519 --> 00:46:25,519
I'd somebody who wasn't going to see or buy your

860
00:46:25,639 --> 00:46:29,519
art anyway, and you're onto the next painting, and you know,

861
00:46:29,599 --> 00:46:33,159
guess what, You've actually got free advertising? Right, I don't

862
00:46:33,159 --> 00:46:33,679
see a problem.

863
00:46:33,800 --> 00:46:34,280
Speaker 9: That's a good way.

864
00:46:34,679 --> 00:46:36,559
Speaker 1: You're an artist too, so you know what I mean.

865
00:46:36,639 --> 00:46:37,719
That means a lot.

866
00:46:38,039 --> 00:46:39,199
Speaker 9: It does, Yeah, it does.

867
00:46:39,360 --> 00:46:41,480
Speaker 1: I just don't want to steal anybody's stuff yet, right.

868
00:46:42,480 --> 00:46:43,880
I did plenty of that when I was a kid,

869
00:46:43,960 --> 00:46:48,159
stealing from Microsoft and all those downloads, those games.

870
00:46:48,320 --> 00:46:54,000
Speaker 9: Oh didn't we all didn't we all? Well, so we

871
00:46:54,119 --> 00:46:56,159
are running out of time. I do want to make sure.

872
00:46:56,239 --> 00:46:57,559
So now, do you have anything coming up?

873
00:46:57,559 --> 00:47:00,960
Speaker 1: And do we have two gigs next week? Weekend? We're

874
00:47:01,039 --> 00:47:05,480
doing the Roud and Bush Community Block Party in Westford, Massachusetts.

875
00:47:05,599 --> 00:47:05,880
Speaker 9: Okay.

876
00:47:06,159 --> 00:47:08,360
Speaker 1: That's kind of a public event for the folks, the

877
00:47:08,400 --> 00:47:11,079
fine folks of Westford, mass Okay. And that's a benefits

878
00:47:11,079 --> 00:47:12,800
show that that we're going to help them do. And

879
00:47:12,880 --> 00:47:17,199
then we're playing the Tiki Bar at Nashoba Valley on

880
00:47:17,320 --> 00:47:20,599
the twenty third from eight to eleven. And then we

881
00:47:20,840 --> 00:47:23,320
are the next show after that, I believe is Pinucci's

882
00:47:23,440 --> 00:47:27,000
on September fourteenth. Excellent and that's on the deck right downtown,

883
00:47:27,039 --> 00:47:29,360
which is going to be a fun show. I play

884
00:47:29,360 --> 00:47:32,199
a lot of Grateful Day. We got a Manchester cuts,

885
00:47:33,199 --> 00:47:36,320
concered conered cockered we do yeah, yeah, the old Thursday's

886
00:47:36,400 --> 00:47:37,199
underground music.

887
00:47:37,079 --> 00:47:38,639
Speaker 9: Stage, so it used to be a Manchester one.

888
00:47:39,519 --> 00:47:39,719
Speaker 11: Yeah.

889
00:47:39,800 --> 00:47:42,760
Speaker 1: And then we're also playing Old Home Days in Hollis

890
00:47:42,960 --> 00:47:47,000
on September twentieth, and then I think October tenth, we're

891
00:47:47,000 --> 00:47:49,599
doing a private party in Milford. October eleventh, we're playing

892
00:47:49,679 --> 00:47:52,000
Milford Pumpkin Fest along with you know, Fox and the

893
00:47:52,039 --> 00:47:54,719
Flamingo Yeah, and all these other bands that are local

894
00:47:54,800 --> 00:47:57,760
out of the area. Cosmic Blossom I think is also

895
00:47:57,880 --> 00:48:01,039
playing excellent. It's just a great line up that weekend

896
00:48:01,159 --> 00:48:02,480
of really good music.

897
00:48:02,760 --> 00:48:02,960
Speaker 9: Yeah.

898
00:48:03,599 --> 00:48:03,800
Speaker 11: Yeah.

899
00:48:03,920 --> 00:48:06,199
Speaker 1: And then I think Old Home Days that one good

900
00:48:06,239 --> 00:48:08,719
Thing took Me Down. That's the release date for that song.

901
00:48:08,760 --> 00:48:09,320
Speaker 9: It's perfect.

902
00:48:09,360 --> 00:48:11,159
Speaker 1: It's kind of going to be your release party.

903
00:48:11,519 --> 00:48:11,719
Speaker 9: Yeah.

904
00:48:11,800 --> 00:48:13,960
Speaker 1: And there'll be a couple thousand people in the field,

905
00:48:14,079 --> 00:48:17,480
and we're getting the sound professionally, professionally produced by AE Events,

906
00:48:17,840 --> 00:48:19,280
so that's great. We don't have to lug our pa.

907
00:48:19,400 --> 00:48:21,440
We'll have a professional stage, professional sound.

908
00:48:22,039 --> 00:48:22,239
Speaker 9: Yeah.

909
00:48:22,719 --> 00:48:24,599
Speaker 11: But was here here.

910
00:48:27,519 --> 00:48:28,280
Speaker 9: We appreciate it.

911
00:48:28,480 --> 00:48:30,519
Speaker 1: And again we appreciate everybody that's kind of given us

912
00:48:30,519 --> 00:48:32,719
the support, and Pete for helping us get to that

913
00:48:32,880 --> 00:48:35,440
next level, andres and Big Bear for giving us a

914
00:48:35,480 --> 00:48:38,000
little opportunity as well, and for you right for for

915
00:48:38,199 --> 00:48:41,800
having us in. Oh wonderful. We're honored, happy to do it.

916
00:48:41,880 --> 00:48:43,559
Speaker 9: It's great to meet you guys, and I love what

917
00:48:43,639 --> 00:48:46,719
you're doing, so thout you so much. Absolutely, we'll keep.

918
00:48:46,599 --> 00:48:48,400
Speaker 1: You informed of any new releases we have. They're coming

919
00:48:48,440 --> 00:48:49,800
out soon. We got two more in the works, so

920
00:48:49,960 --> 00:48:52,079
you do okay. Yeah, so we'll be releasing two more

921
00:48:52,119 --> 00:48:53,239
probably in the next few weeks.

922
00:48:53,400 --> 00:48:55,719
Speaker 9: Oh wonderful. Yeah, send them to us. We'll play well,

923
00:48:55,719 --> 00:48:58,039
we definitely will. We'll give them the world radio premiere treatment.

924
00:48:58,079 --> 00:48:58,440
Speaker 1: Awesome.

925
00:48:58,519 --> 00:49:01,400
Speaker 9: Absolutely. One under one other thing. Where is the best

926
00:49:01,440 --> 00:49:03,400
place for people to go online to keep up with

927
00:49:03,480 --> 00:49:04,280
everything that you're doing.

928
00:49:04,440 --> 00:49:07,480
Speaker 1: You go to jamdemic dot com. Okay, and that's pretty

929
00:49:07,519 --> 00:49:09,800
much the hub of all of our stuff. We'll be

930
00:49:09,880 --> 00:49:12,400
doing a new website for that pretty soon because now

931
00:49:12,440 --> 00:49:14,719
that we're out there on the streaming web, we've got

932
00:49:14,800 --> 00:49:17,960
to really re rethink everything with these you know, the

933
00:49:18,079 --> 00:49:21,360
radio shows and the radio event the other day. There's

934
00:49:21,360 --> 00:49:22,880
a lot of new stuff that we've got to put

935
00:49:22,960 --> 00:49:23,239
up there.

936
00:49:23,480 --> 00:49:26,159
Speaker 10: Yeah, of course we do have a pretty active Facebook

937
00:49:26,159 --> 00:49:27,239
page though, we do, and.

938
00:49:27,320 --> 00:49:30,800
Speaker 1: We're on Instagram. We're on band camp and jam base

939
00:49:31,000 --> 00:49:35,320
and bands in town pretty much everywhere. Yeah, you know,

940
00:49:35,400 --> 00:49:37,320
you got to keep up on all that stuff, that's right.

941
00:49:37,400 --> 00:49:39,480
Speaker 9: Yeah, it's a lot to keep up with. But yeah,

942
00:49:39,519 --> 00:49:40,159
but yeah, you got.

943
00:49:40,199 --> 00:49:40,480
Speaker 11: To do it.

944
00:49:41,239 --> 00:49:43,400
Speaker 1: You got to do It's part of the deal. If

945
00:49:43,440 --> 00:49:45,400
you want to grow and you want to get better gigs,

946
00:49:45,440 --> 00:49:47,559
and you want to market yourself, you've got to market it.

947
00:49:47,880 --> 00:49:49,800
And I think that's that's something that I'm starting to

948
00:49:49,840 --> 00:49:53,159
get into helping other bands out my digital marketing experience

949
00:49:53,800 --> 00:49:56,079
and seeing how we've grown this.

950
00:49:56,599 --> 00:49:57,840
Speaker 9: Yeah, there's a lot of.

951
00:49:57,880 --> 00:50:00,000
Speaker 1: Opportunity for me to help other bands that just don't

952
00:50:00,000 --> 00:50:01,599
don't have a guy in the band that can do

953
00:50:01,760 --> 00:50:04,559
this right, So I encourage them to reach out to me.

954
00:50:04,679 --> 00:50:06,480
I'm more happy to guide them and give them some

955
00:50:06,599 --> 00:50:09,320
free advice or hook them up with an invoice if

956
00:50:09,320 --> 00:50:10,280
they want me to help him out.

957
00:50:10,400 --> 00:50:13,119
Speaker 10: Yeah, seriously, it's it's makes all the difference.

958
00:50:13,239 --> 00:50:13,400
Speaker 3: You know.

959
00:50:13,519 --> 00:50:17,159
Speaker 10: We've come very far, we feel in three years you know, yeah,

960
00:50:17,840 --> 00:50:20,519
or three to five years. You know that we never

961
00:50:20,599 --> 00:50:24,760
expected and a lot of it's Eric's talent and dedication

962
00:50:24,960 --> 00:50:28,440
to getting the word out and to collaboration. He's kind

963
00:50:28,440 --> 00:50:30,320
of a collaborative marketer. He doesn't try to shove anyth

964
00:50:30,320 --> 00:50:32,440
down your throat, but he finds the sweet spot where

965
00:50:32,480 --> 00:50:33,480
everybody benefits.

966
00:50:33,599 --> 00:50:38,000
Speaker 9: Yeah, that's good, yea, thank you, excellent, excellent. Well guys,

967
00:50:38,079 --> 00:50:40,840
thank you so much, jam Demic. This has been wonderful

968
00:50:40,880 --> 00:50:42,599
and we'll definitely do this again in the future. And

969
00:50:43,039 --> 00:50:44,840
like I said, you know, send us your music as

970
00:50:44,880 --> 00:50:45,679
you got it and we'll play it.

971
00:50:45,920 --> 00:50:48,159
Speaker 1: Thanks Matt, Thanks Jen, thank you.

972
00:50:48,480 --> 00:50:50,920
Speaker 9: And before we go to Jenny, you want to remind

973
00:50:50,960 --> 00:50:52,760
everybody of your website where to keep up with everything

974
00:50:52,800 --> 00:50:54,039
you were doing, because you got a lot going on.

975
00:50:54,400 --> 00:50:56,800
I do, and I'm getting into more and more good trouble.

976
00:50:56,840 --> 00:50:58,480
If you want to find out what that is, just

977
00:50:58,559 --> 00:51:00,880
come check out Jen Coffee dot com, j E N

978
00:51:01,000 --> 00:51:03,400
N c O f f uy dot com and stay

979
00:51:03,440 --> 00:51:07,599
tuned for a new publication. Yes, yes, absolutely yes, and

980
00:51:07,960 --> 00:51:10,159
you can keep up with me at Matt Connorton dot com.

981
00:51:10,440 --> 00:51:11,880
And I believe Eric and I are going to do

982
00:51:12,199 --> 00:51:15,679
a new Tough Bumps podcast this weekend too, so you

983
00:51:15,719 --> 00:51:18,119
can check that out. Uh and if you miss any

984
00:51:18,119 --> 00:51:19,679
part of today's show, it will be up in just

985
00:51:19,719 --> 00:51:22,559
a little bit at w M n H Radio dot org.

986
00:51:23,599 --> 00:51:26,480
I need some caffeine. And in my website Matt Connorton

987
00:51:26,519 --> 00:51:28,800
dot com, you can tell I start, I start buffering

988
00:51:28,880 --> 00:51:32,039
when this is the morning still when I'm under caffeinated. Yeah,

989
00:51:32,400 --> 00:51:34,159
and uh so that's gonna do it for us for

990
00:51:34,239 --> 00:51:37,679
now again. Jamdemic, Thank you, jamdemic, thank you so much,

991
00:51:38,199 --> 00:51:40,440
thank you, thank you, and uh, we'll talk to you

992
00:51:40,519 --> 00:51:41,119
a little bit later.

993
00:51:41,159 --> 00:51:41,320
Speaker 3: Bye.

994
00:51:41,360 --> 00:51:48,920
Speaker 9: Everybody, you're listening to Matt Connorton unleash on w M

995
00:51:48,960 --> 00:51:53,639
and HNWTY five point three and now the American radio

996
00:51:53,760 --> 00:51:57,159
premiere of the new single by three Time seven. This

997
00:51:57,360 --> 00:51:59,880
is called dressing for the weather.

998
00:52:09,800 --> 00:52:10,920
Speaker 4: And dressing fall the weather.

999
00:52:11,000 --> 00:52:13,119
Speaker 8: I want, oh.

1000
00:52:14,440 --> 00:52:16,000
Speaker 1: Dressing mottle weather world.

1001
00:52:17,800 --> 00:52:18,559
Speaker 4: Never mind the weather.

1002
00:52:18,639 --> 00:52:19,400
Speaker 14: I can make it better.

1003
00:52:19,440 --> 00:52:20,679
Speaker 15: I can make a shine.

1004
00:52:20,440 --> 00:52:21,599
Speaker 3: Shine shine.

1005
00:52:24,800 --> 00:52:25,960
Speaker 1: Like the whether I want.

1006
00:52:27,559 --> 00:52:33,400
Speaker 14: There ain't no stormy Monday, gonna breathe read done.

1007
00:52:36,400 --> 00:52:38,000
Speaker 4: Because I'm racing high.

1008
00:52:40,679 --> 00:52:42,280
Speaker 16: I stand a little taller now.

1009
00:52:44,079 --> 00:52:46,159
Speaker 14: It only takes a little mom It takes a little money.

1010
00:52:46,239 --> 00:52:50,480
Speaker 15: Takes a little only takes a little harm, It takes

1011
00:52:50,519 --> 00:52:51,480
a little hard.

1012
00:52:51,719 --> 00:52:55,920
Speaker 4: Now, if I didn't know any better, I play the

1013
00:52:56,079 --> 00:52:56,719
weather to.

1014
00:52:58,320 --> 00:53:00,440
Speaker 3: Now have me my favorite hit.

1015
00:53:00,599 --> 00:53:03,719
Speaker 8: You you see, I'm dressing on the water.

1016
00:53:03,880 --> 00:53:08,199
Speaker 1: I want, oh, dressed up all the wather.

1017
00:53:08,320 --> 00:53:11,440
Speaker 15: I never mind the weather.

1018
00:53:11,480 --> 00:53:12,239
Speaker 1: I can make it better.

1019
00:53:12,320 --> 00:53:14,400
Speaker 4: I can make it shine, shine, shine.

1020
00:53:17,599 --> 00:53:18,639
Speaker 8: Like the weather I want.

1021
00:53:18,719 --> 00:53:21,960
Speaker 4: I'm dressing for please, guys, now the please.

1022
00:53:22,920 --> 00:53:24,000
Speaker 1: Oh I'm dressing for me.

1023
00:53:25,280 --> 00:53:28,960
Speaker 4: I'm dressing for me. I just not die.

1024
00:53:29,320 --> 00:53:32,679
Speaker 8: The lever didn't take just a minute because I know,

1025
00:53:34,360 --> 00:53:37,960
Oh no, it only takes a little.

1026
00:53:38,119 --> 00:53:40,679
Speaker 1: It takes a little let it takes a little all on.

1027
00:53:40,840 --> 00:53:43,960
Speaker 15: It takes a little drop, it takes a little.

1028
00:53:43,960 --> 00:53:51,679
Speaker 14: Short whatever the weather when making it better, I had

1029
00:53:51,760 --> 00:53:58,599
in my favorite suit. I'm dressing on the weather our world. Oh,

1030
00:54:00,199 --> 00:54:05,880
dressed upon the weather world and pulling must calf together

1031
00:54:08,559 --> 00:54:15,280
all the way the tarn and pray the side.

1032
00:54:18,079 --> 00:54:19,280
Speaker 1: Out every time.

1033
00:54:24,719 --> 00:54:25,119
Speaker 3: That's what.

1034
00:54:27,119 --> 00:54:31,039
Speaker 16: Wild, That's what I need, what I need.

1035
00:54:33,559 --> 00:54:33,960
Speaker 3: It's t.

1036
00:54:37,880 --> 00:54:39,280
Speaker 4: Let us stop about that, A.

1037
00:54:39,280 --> 00:54:40,000
Speaker 3: Stop from me.

1038
00:54:42,039 --> 00:54:47,639
Speaker 4: Dressing for the weather to dressing forever.

1039
00:54:50,320 --> 00:54:55,719
Speaker 15: I'm not dressing, Oh, I.

1040
00:54:55,840 --> 00:54:57,360
Speaker 3: Dress from me from me.

1041
00:55:03,599 --> 00:55:10,480
Speaker 9: Mm hmmm, h.

1042
00:55:14,360 --> 00:55:16,639
Speaker 15: M hmmm.

1043
00:55:17,599 --> 00:55:18,079
Speaker 9: Mm hmmm.

1044
00:55:25,800 --> 00:55:29,079
Speaker 8: Out in the valley where the west wind bad.

1045
00:55:32,440 --> 00:55:35,119
Speaker 4: I got a place and nobody no.

1046
00:55:38,920 --> 00:55:39,239
Speaker 3: See it.

1047
00:55:39,360 --> 00:55:43,920
Speaker 8: Now you drinking boy, myself dringing on my life and

1048
00:55:44,119 --> 00:55:47,639
drinking on my health. God the mind ain't gonna come

1049
00:55:47,719 --> 00:55:49,360
and shine a light on speed.

1050
00:55:52,440 --> 00:55:53,800
Speaker 9: How I was raised on.

1051
00:55:53,920 --> 00:55:55,800
Speaker 1: The Colorado saands.

1052
00:55:58,960 --> 00:56:01,559
Speaker 16: Groop of the small on town, trying to be on

1053
00:56:02,000 --> 00:56:08,599
name Me and my friend calls a rap rock track

1054
00:56:09,079 --> 00:56:13,280
over Ji stall and nickel candy shack, Lord of mine

1055
00:56:13,400 --> 00:56:15,920
and on come and shine a lot of speed?

1056
00:56:18,880 --> 00:56:25,559
Speaker 15: Who out of towning I was seven years old. I

1057
00:56:25,800 --> 00:56:32,440
don't know when I was called been doll man on

1058
00:56:32,679 --> 00:56:33,760
friend and toll.

1059
00:56:33,920 --> 00:56:35,800
Speaker 1: Me and his guitar kept up.

1060
00:56:35,719 --> 00:56:37,960
Speaker 15: Beat the ghettle though he didn't gat fall.

1061
00:56:38,480 --> 00:56:42,360
Speaker 16: Lord of mine ain't on a COmON shineing lot of speed.

1062
00:56:45,199 --> 00:56:47,880
Speaker 8: Urry around crazy like a doll.

1063
00:56:51,199 --> 00:56:54,639
Speaker 9: I couldn't see too the fig head of smile.

1064
00:56:57,880 --> 00:57:02,000
Speaker 15: Spend six mons in the dog the tail that surprising

1065
00:57:02,119 --> 00:57:05,840
pain when you're raising little tail, Lord tonight it on

1066
00:57:06,000 --> 00:57:06,880
the color shine it.

1067
00:57:07,000 --> 00:57:08,320
Speaker 9: I don't feed.

1068
00:57:23,840 --> 00:57:29,719
Speaker 15: What I wanna say, what I wanna know, what.

1069
00:57:29,960 --> 00:57:31,079
Speaker 9: I don't wanna say.

1070
00:57:32,639 --> 00:57:34,119
Speaker 4: I can't help my soul.

1071
00:57:35,400 --> 00:57:36,960
Speaker 15: What you wanna feel?

1072
00:57:38,360 --> 00:57:41,840
Speaker 3: We can make your retail what you.

1073
00:57:41,920 --> 00:57:46,280
Speaker 1: Wanna feel, can't I counsie.

1074
00:58:12,679 --> 00:58:19,480
Speaker 8: Hide in the valley in the west wind blow, I

1075
00:58:19,719 --> 00:58:22,639
got a place, and nobody all.

1076
00:58:26,159 --> 00:58:26,480
Speaker 3: Saying.

1077
00:58:26,599 --> 00:58:30,760
Speaker 16: Now you are thinking by myself, thinking about my life,

1078
00:58:31,199 --> 00:58:34,719
thinking about my health. Lord of Mind, ain't gonna come

1079
00:58:34,800 --> 00:58:40,480
and shine a lot off me, a f of rude,

1080
00:58:40,760 --> 00:58:53,239
fan of HAMDM. Keep all things my grandma say, hair,

1081
00:58:53,480 --> 00:58:58,239
my heart and a ham and me that's a whole

1082
00:58:58,400 --> 00:58:59,159
lot of wealth.