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Speaker 1: Let me get this microphone up here. Let's see, because

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he's got his guitar with him. Brooklyn Mike is here. Hello,

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Brooklyn Mike. Oh, I think I hear you a little bit.

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Check check. Oh there we are. Good. Good morning, Matt

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and everybody. Good morning. Let's say I'm gonna turn that

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down and turn that up and it's uh yeah, Mike's

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got his guitar with him, so he's gonna play. So

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this is exciting because, again, for those who are not familiar,

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Brooklyn Mike has been well this morning on the Morning

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Show because every Saturday morning, Peter plays a classic episode

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of the Morning Show. This Morning Show was from twenty eighteen.

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It was from the end of twenty eighteen, and you

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were on it.

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Speaker 2: Yeah, twenty eighteen, and at that point I had been

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already listening and participating with The Morning Show for probably

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at least a year or two at that point already.

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Speaker 1: Yeah. I know.

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Speaker 2: It was you know when Moose was still on and

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Moose was off the show at that point twenty eighteen.

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Jarrell was there. Yeah, so at the very least twenty seventeen. Yeah,

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so we go back good eight years, eight nine years

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something like that.

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Speaker 1: Yeah, yeah, so this is the first time. So you've

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been on the morning show many times. Have you ever

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been on a rob show, Robber's video show? In fact,

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I've never had the good fortune to meet Rob yet.

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Oh okay, so you haven't even met Rob yet. I'm

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sure you will at some point. Yeah, but you've been

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on so you've been on Retrospect Radio obviously recently for

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the first time. So that was that was a lot

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of fun. That was great. I look forward to coming

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back in next Friday. Absolutely, And this is your first

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time on this show, so so welcome. Thanks.

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Speaker 2: Well, you know, being I retired from my regular job

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at the beginning of this year, and so this is

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affording me, you know, time to do things that have

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been back burnard for a quarter century. Yeah, so including

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you know, performing and playing music. You know, I moved

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here January of two thousand and one from Brooklyn, New York,

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and you know, got it, you know, started working and

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had to pay bills and be an adult. So I

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kind of back burned the music. I didn't really have

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the time and the energy. I was working nights, so,

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you know, working weekends, so my schedule was not conducive

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really that much to playing out and yeah, I mean

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certainly if you could always find the wherewithal to do it.

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Speaker 1: Yeah, I just didn't have it in me.

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Speaker 2: I was more focused on, you know, just building a

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new life here in New Hampshire with my wife.

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Speaker 1: Yeah, which has worked out beautifully. No, that's wonderful. We

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have a call. Oh no, nobody there. Someone was calling

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the studio line. All right, I thought it was one

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of your fans. But whoever it was, they hung up.

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Speaker 2: Yeah, well one of them. Yeah, Daryl, the Dragons Ione

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should be listening this morning. If you're listening, Daryl, good morning.

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Speaker 1: Oh excellent, Good morning Daryl. Yeah. I haven't spoken with

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him in a long time, but you had lunch with

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him recently, right at breakfast or something. Yeah. Yeah, we're

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good friends. Now that's excellent. That is excellent. He's a

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good man. Yeah. Absolutely, Well he's a musician himself, he is.

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You guys are gonna do? Uh?

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Speaker 2: We were we know, you know, we we totally had

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plans because in additions playing guitar and bass, my first

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instrument was trumpet and I love jazz and uh Darrell

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plays saxophone and uh and clarinet. Uh, and we had plans.

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We had it all mapped out. We were going to

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do a duet. We had a name for the duet,

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and we had repertoire ready to go. And then he

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took an unfortunate fall and he's recovered quite well, but

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he feels he doesn't have the proper dexterity in his

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fingers in his hands anymore to play. So we had

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to kind of shelf that that project.

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Speaker 1: Fortunately, let's see it. Oh, I think our caller is online.

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Hello caller, who's.

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Speaker 3: This Ricky Mapleton?

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Speaker 1: Oh my goodness, Ricky Mampleton. Hello are you so? Are

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you familiar with Brooklyn Mike.

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Speaker 2: I'm yes, I am.

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Speaker 3: Huh, go ahead, I learned a bottom from of your show.

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Speaker 1: Oh wonderful, wonderful. So see you already have a new fan.

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Hopefully we'll be disappointing. Good morning, rick Yeah, morning, Ricky

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Mapleton is gonna be on with us in the uh

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in the not too distant future. So, and it's been

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on the show many times.

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Speaker 3: Yeah, I think I'm coming on in February.

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Speaker 1: I think so. I don't have it in front of me,

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but that sounds right.

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Speaker 3: Yeah, yeah, yeah, I'm good to have you. Thanks. I

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was starting to call up with heavy thanks. Give me

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to you guys.

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Speaker 1: Oh, thank you.

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Speaker 3: Yeah, just a big, big fan of the show. Guys,

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you're still rocking and.

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Speaker 1: Rolling absolutely well. Thank you very much. We appreciate that

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and we look forward to look forward to seeing you

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in February with your new project.

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Speaker 3: Ah yeah, I got a project coming up called The

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bread Man Cometh.

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Speaker 4: A rock opera round Bread.

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Speaker 1: Yeah, very excited about that. I'm a big fan of

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sandwiches myself in French doasts, so you know I like bread.

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Speaker 3: Oh well, I'll bring some in and have a great

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show and I'll talk to you guys. Keep going.

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Speaker 1: Thank you so much by bye.

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Speaker 2: It's funny that he mentioned bread, because you know, the

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first thing you think of is you know bread that

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we eat? Yes, And I think I only learned recently

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that the band bread, uh, which I always thought, you know,

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bread that we eat, but it was actually you know

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bread the nickname for money. Yes, I think that's that

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was the the meaning of the band.

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Speaker 1: You only learned that recently about Wait about uh that

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that the name bread of the band?

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Speaker 3: Oh?

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Speaker 2: Oh, I thought you meant no, No, I knew that

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that was that was I was confused.

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Speaker 1: No, no, we Yeah, Amen, let me some bread. Solid No.

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Speaker 2: No, but I only learned learned recently that that that

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was the meaning of the of the name of the band.

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Speaker 1: Oh, I got you, I got youa yeah either way. Now,

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you had said, I don't remember if this was an

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on air or an off air conversation during Paul's show,

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but you mentioned back in New York you would work

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with Walter Egan.

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Speaker 2: Correct, we didn't work Yeah, actually we did work in

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New York. Walter Egan is originally from Queens from Forest Hills, Queen's,

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same town. Coincidentally as Simon and Garfunkel and.

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Speaker 4: I.

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Speaker 2: You know, I was playing in many, many bands, and

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he wound up working with one of the bands that

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I was working with, not on a permanent basis a

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little bit more than subbing, but we would go up

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to that band. The band leader, so to speak, Ray Passenan,

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is from East Millinocket, Maine. Yeah, so we would he

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booked us. Ray would book us at this in Brewer, Maine,

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at a kind of a motel that would have a

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lounge there and we'd play there for the whole week.

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It was called Stacy's. Doesn't exist anymore, it's gotten torn down.

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But this was in the nineties and when we go

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up for the week to Maine, Walter would would go

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with us and play for the whole week. And in

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fact he would he would carpool like I would drive,

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and he'd carpool with me, so I'd have his guitar

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and his amp in my car. And it was a

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lot of He's he's a lot of fun. But he

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lives in Nashville now. Yeah, so, yeah, Walter is a

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fun guy, is very talented, very talented guitarist. So his

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biggest hit was Magnet and pretty much a one hit wonder,

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but very very good songwriter. Yeah, great guitarist, good singer,

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just all around good guy.

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Speaker 1: Yeah. Yeah, Yeah, that was fun. Is there anyone else

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like that that you worked with back in the I

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don't remember the guy's name.

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Speaker 2: It was only one night again with a lot of

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the bands that we you know, you were mentioning earlier

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about you know, one of one of the downfalls of

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being in a band is when somebody can't make it.

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But we were fortunate, you know, in in New York City.

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I mean there's I mean, there are a lot of

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musicians everywhere, right, but we had quite quite a circle

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of bands that we all knew each other on the

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on the circuit, so to speak. So if like if

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we if our drummer couldn't make it, we had our

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pick of drummers. Same thing with guitarists and all that.

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So there was one one night where our drummer couldn't

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make it, and I don't know how our band leader,

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her name was Patients More, she found this guy but

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he was again I don't remember his name, but he

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was the drummer for Paul McCartney and Wings. So we

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worked with him for one night. Oh yeah, English guy,

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super super nice of course, great drummer.

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Speaker 1: Yeah there, I don't know.

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Speaker 2: There was a guitarist from the Left Bank, you know,

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walk Away Renee, that song. Just every now and then

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we'd come across, you know, we'd wind up working with somebody. Yeah,

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and it was just you know, main job, main thing

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was to get the job done. But it was all

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it was all lot of fun, right, There was never

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a lot of money in it. I mean yeah, you know,

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for many years and it's still my approach where whether

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it's right or wrong, I'm happy with it. Where the

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music that I decide to perform or do, this is

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what I'm doing solos. But or again, back in New York.

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All the bands I was in I played bass.

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Speaker 1: Okay, So we were.

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Speaker 2: Doing cover music mostly believe it or not, because it

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was in the nineties, mostly country bands. Really yeah, so,

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and we were super busy. I mean there was a

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month I remember we did like thirty two jobs in

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one month.

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Speaker 1: Oh my god. Yeah, wow, like doubles.

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Speaker 2: You know, you do an afternoon and you know, on

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a Saturday afternoon at like a fair or something, and

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then yeah, play a bar at night.

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Speaker 4: Wow.

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Speaker 1: So where was I going with that? Oh?

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Speaker 2: My choice of music that I play. So back home again,

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I was playing in these cover bands, and family members

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and people I knew would say, you know, why don't

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why don't you join a wedding band? You can make

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so much money. I'm like, I'm not doing that music.

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I don't really care at this point about the money.

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I should have cared a little bit more about the money, honestly. Luckily,

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you know, my wife was very patient with me, and

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you know, she worked and I worked the day job too,

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but I'd work part time jobs, full time jobs, depending

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on how busy I was with music at any given point.

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So as a result, I worked a lot of different

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types of jobs, imagine in my life, and so yeah,

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still to this day, like the repertoire that I do

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is not primarily songs that people know. I mean, there

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are a fair amount of those songs. But for example, everybody,

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anybody who knows me through the station knows Gordon Lightfoot

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is like my hero, and I don't really do his

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I do. I think two songs of his, well, now

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three because I learned sundown, but I do so I

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do three songs of his that were popular songs that

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were hits that people would know. But then I'll do

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ten songs of his that unless you're like a Gordon

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Lightfoot fan or had his albums or have his albums

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and were really into his music, you wouldn't know them.

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But I love the songs. And it's a little bit

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selfish on my part. It's like three parts to it.

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Part of it is selfish because I enjoy it. Yeah, okay,

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And I think that if a performer is doing songs

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that he or she enjoy really enjoys, you're going to

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get the best result usually because it's from the heart.

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So that's one thing and the other thing is I

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think it's a little more interesting for audiences unless they

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just want to hear songs that they know. And that's

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why I don't really want to play like like primarily

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like in a bar setting because people are drinking.

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Speaker 1: You know.

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Speaker 2: I did that for years and years and years, even

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my first band with my brother, which was all classic rock,

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and it was fine, you know, because people are drinking,

237
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you know, they want to sing along and they want

238
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to know the songs. But hopefully I could find some

239
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venues a little more low key where it's more of

240
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a listening experience, So I could do these songs, for example,

241
00:12:18,840 --> 00:12:22,960
by Gordon Lightfoot and my other hero Dan Fogelberg, that

242
00:12:24,240 --> 00:12:28,039
people might not necessarily know, but I think they'll wind

243
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up really enjoying it, hopefully. And the third thing is

244
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that at any given point, if I'm performing and somebody

245
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is in the audience or more than one person, Let's

246
00:12:39,200 --> 00:12:42,480
take Dan Fogelberg for example, that is a Dan Fogelberg song,

247
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and then I'm doing these cuts like off albums that

248
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when never on the radio, I'm hoping they'll be like

249
00:12:49,639 --> 00:12:52,120
really happy about it. Hear that it's like, oh my god,

250
00:12:52,120 --> 00:12:54,840
he's doing For example, I used to play this place

251
00:12:54,919 --> 00:12:58,320
in Greenwich Village called the back Fence, and I played

252
00:12:58,320 --> 00:13:02,480
their solo many times with many bands over the years.

253
00:13:02,679 --> 00:13:09,879
And my favorite America song is Daisy Jane. And it

254
00:13:10,000 --> 00:13:12,399
got some airplay, but it wasn't like, you know, it

255
00:13:12,480 --> 00:13:15,519
wasn't Ventura Highway for example. You know, it wasn't like

256
00:13:15,519 --> 00:13:18,720
a huge utit and there. So I was at the

257
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back Fence one night and played Daisy Jane and there

258
00:13:21,679 --> 00:13:23,919
was this guy there just at the bar, and he

259
00:13:24,080 --> 00:13:26,679
loved the song and he went nuts and he said,

260
00:13:26,879 --> 00:13:29,120
every I'm gonna make sure I'm here every time you

261
00:13:29,240 --> 00:13:30,840
hear just because I want to hear that song.

262
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Speaker 5: Wow.

263
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Speaker 2: So to me, that's like it's not even about the money,

264
00:13:34,279 --> 00:13:37,759
like that's the payoff, right, you know, it's like mission accomplished.

265
00:13:37,799 --> 00:13:41,480
Speaker 1: Yeah, absolutely absolutely. You mentioned your brother, so you're in

266
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a band with your brother. And then my.

267
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Speaker 2: Brother he passed away unfortunately a couple a couple of

268
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years ago, passed away.

269
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Speaker 1: But he's seven years older than I am.

270
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Speaker 2: Yeah, and I you know, I know you're an only child,

271
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but I think it's kind of normal for let's say.

272
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Speaker 1: Especially I should just clarify, Mike come not an only child.

273
00:14:00,679 --> 00:14:03,120
Just in case any of my siblings are listening. I

274
00:14:03,159 --> 00:14:07,919
often feel like I will sorry, sister, right, it's okay, okay, yeah,

275
00:14:07,919 --> 00:14:10,200
I have I'm just remembering. Yeah, yeah, it's okay. I

276
00:14:10,200 --> 00:14:12,159
have two half sisters and a half brother. I'm sorry,

277
00:14:12,200 --> 00:14:16,559
and everybody scattered. And I was already yeah, I was

278
00:14:16,600 --> 00:14:18,600
already older when the first one was born. So I

279
00:14:19,080 --> 00:14:21,360
often feel like I grew up like an only child. Okay,

280
00:14:21,399 --> 00:14:23,679
so that's okay. Just I'm only correcting you, just in

281
00:14:23,759 --> 00:14:25,919
case any of them are listening, which is unlikely, but

282
00:14:25,919 --> 00:14:28,840
I don't want anyone to be mad at me. I apologize.

283
00:14:28,879 --> 00:14:31,000
It's all good. I did know that, and I.

284
00:14:31,000 --> 00:14:36,320
Speaker 2: Forgot totally okay, But the reference is it's still relevant

285
00:14:36,399 --> 00:14:39,679
in that. So my brother, being older than I am,

286
00:14:41,039 --> 00:14:42,799
I always kind of looked up to him. I just

287
00:14:42,840 --> 00:14:45,960
wanted to like emulate him. And he was a musician

288
00:14:46,039 --> 00:14:48,519
from early early on. First played drums. We had a

289
00:14:48,559 --> 00:14:50,519
drum kit in the basement, and I'd go down and

290
00:14:50,559 --> 00:14:52,840
play the drums, you know, just by ear. That was

291
00:14:52,879 --> 00:14:55,720
actually the first instrument that I played. Yeah, and uh,

292
00:14:56,120 --> 00:14:59,519
and then he was a great guitarist and keyboard player

293
00:14:59,519 --> 00:15:02,840
and singer. My sister is a singer. My father was

294
00:15:02,840 --> 00:15:07,200
a singer, and so my first band when I started

295
00:15:08,200 --> 00:15:11,120
studying guitar, and my brother had already been playing for

296
00:15:11,240 --> 00:15:14,759
years and he was in a band. Then that band

297
00:15:14,759 --> 00:15:16,799
split up, you know the way it goes, and then

298
00:15:16,879 --> 00:15:20,360
he and the lead singer and a rhythm player wanted

299
00:15:20,399 --> 00:15:23,639
to form another band, and I was just learning to play,

300
00:15:23,799 --> 00:15:26,559
and I joined them, and we were three acoustic guitars

301
00:15:26,559 --> 00:15:30,639
at that point, and then about a year later we

302
00:15:30,720 --> 00:15:34,840
had the idea. I started studying bass, and then my

303
00:15:34,960 --> 00:15:38,440
friend John Sheridan, who I played with in like a

304
00:15:38,480 --> 00:15:40,960
ton of bands. He's like my best friend back home

305
00:15:41,000 --> 00:15:43,279
in New York while he's in New Jersey now. So

306
00:15:43,399 --> 00:15:47,279
then I then my brother went he like I said,

307
00:15:47,279 --> 00:15:50,399
we started out as three acoustic guitars, and then when

308
00:15:50,480 --> 00:15:53,960
we supplemented the band with the drummer, my brother went

309
00:15:54,000 --> 00:15:56,559
to electric guitar and I went to bass. Okay, and

310
00:15:56,559 --> 00:15:58,960
then we were like a legit four piece, you know,

311
00:15:59,039 --> 00:16:00,399
with acoustic rhythm.

312
00:16:00,519 --> 00:16:02,159
Speaker 1: Yeah, yeah, and it was great.

313
00:16:02,279 --> 00:16:02,480
Speaker 3: Yeah.

314
00:16:02,480 --> 00:16:05,720
Speaker 2: The name of the band was County Line and uh.

315
00:16:06,480 --> 00:16:09,759
I came up with the name for the band from

316
00:16:09,840 --> 00:16:13,679
a song by the Pussett's Art band John Poussett's art.

317
00:16:13,720 --> 00:16:17,399
Who you interview was a great interview. That was a

318
00:16:17,480 --> 00:16:18,639
great feather in your cap.

319
00:16:18,720 --> 00:16:19,759
Speaker 1: Oh thank you. Yeah.

320
00:16:19,840 --> 00:16:21,279
Speaker 2: And if you ever get the chance to see him

321
00:16:21,279 --> 00:16:23,320
he plays over at the Rex. I've seen him there

322
00:16:23,360 --> 00:16:25,360
a number of times. You will not be disappointed.

323
00:16:25,399 --> 00:16:27,200
Speaker 1: He's great. Yeah. The last time we had him on,

324
00:16:27,240 --> 00:16:29,799
that's why it was because he was great. I've seen

325
00:16:29,840 --> 00:16:30,759
him in a few times.

326
00:16:30,919 --> 00:16:31,120
Speaker 3: Yeah.

327
00:16:32,159 --> 00:16:32,320
Speaker 1: Huh.

328
00:16:33,000 --> 00:16:36,960
Speaker 2: So anyway, that was my first band that was all uh, classic.

329
00:16:36,639 --> 00:16:40,759
Speaker 1: Rock and then and then what why did that end?

330
00:16:42,679 --> 00:16:45,720
Speaker 2: Work started drying up a little bit. Yeah, So that

331
00:16:45,799 --> 00:16:49,480
we started that band, County Line. That was about nineteen

332
00:16:49,559 --> 00:16:54,559
eighty six or seven, and we went strong for a

333
00:16:54,600 --> 00:16:58,399
good three or four years. Yeah, and then in nineteen

334
00:16:58,519 --> 00:17:02,240
ninety but we're going we're going one hundred and eighty

335
00:17:02,279 --> 00:17:04,799
on this one. In nineteen ninety, my wife and I

336
00:17:04,839 --> 00:17:08,240
bought a pizzeria. Okay, so I started working when I

337
00:17:08,240 --> 00:17:10,160
was eight years old. I'm going to backtrack real quick

338
00:17:10,400 --> 00:17:12,440
a little bit. I started working I was eight years

339
00:17:12,480 --> 00:17:13,440
old in pizzerias.

340
00:17:13,519 --> 00:17:15,880
Speaker 1: Wow, And I know it's not legal.

341
00:17:15,680 --> 00:17:18,000
Speaker 2: But it was a pizzeria and it was in Brooklyn,

342
00:17:18,119 --> 00:17:22,000
so it was okay, gotcha so eight years old, I

343
00:17:22,000 --> 00:17:24,480
started working in pizzeri's. I did that straight through thirteen

344
00:17:24,559 --> 00:17:26,759
years until I was twenty one, through all pretty much

345
00:17:26,799 --> 00:17:27,599
all my school years.

346
00:17:27,640 --> 00:17:28,240
Speaker 1: Wow.

347
00:17:29,079 --> 00:17:32,720
Speaker 2: And then then I wasn't working in pizzer anymore. So

348
00:17:32,759 --> 00:17:37,920
from twenty one that was whatever year that was nineteen

349
00:17:37,960 --> 00:17:40,480
eighty two, and I was a bank teller and I

350
00:17:40,519 --> 00:17:42,440
did a whole bunch that worked for a coffee company,

351
00:17:42,680 --> 00:17:46,279
industrial hardware company, all kinds of stuff. But in nineteen

352
00:17:46,359 --> 00:17:50,519
ninety an opportunity came up in our neighborhood actually a

353
00:17:50,519 --> 00:17:51,680
block from my mom's house.

354
00:17:51,799 --> 00:17:53,240
Speaker 1: There was a pizzeria for sale.

355
00:17:53,599 --> 00:17:56,680
Speaker 2: And I wasn't really involved in a career or anything,

356
00:17:57,079 --> 00:17:58,720
and I knew how to do the you know, run

357
00:17:58,759 --> 00:18:00,759
the business. I did it much all my you know,

358
00:18:00,880 --> 00:18:04,319
thirteen years, all my young life, and my wife and

359
00:18:04,319 --> 00:18:06,680
I decided to buy the buy the pizzeria. So then

360
00:18:06,759 --> 00:18:08,720
I couldn't play music anymore because I was there like

361
00:18:08,759 --> 00:18:09,440
seven days a week.

362
00:18:09,519 --> 00:18:09,920
Speaker 1: Oh yeah.

363
00:18:10,559 --> 00:18:12,880
Speaker 2: And then we got rid of the pizzeria in ninety two,

364
00:18:13,680 --> 00:18:17,119
and I mean I didn't even lock the door the

365
00:18:17,200 --> 00:18:19,400
last day. And my friend John Sheridan, and it's like, okay,

366
00:18:19,400 --> 00:18:22,519
you're ready to join the band again and then we

367
00:18:22,519 --> 00:18:24,319
were off and running. And then, like I said, country

368
00:18:24,400 --> 00:18:27,480
music was like really up and coming then with you know,

369
00:18:27,640 --> 00:18:30,839
the coming on the scene of like the likes of

370
00:18:30,880 --> 00:18:34,039
Clint Black and Garth Brooks and Brooks and Dunn and

371
00:18:34,240 --> 00:18:37,680
you know, Dwight Yoakum and all these guys. Yeah, and

372
00:18:37,720 --> 00:18:40,599
it just country music exploded, and believe it or not,

373
00:18:40,640 --> 00:18:42,839
in New York City and Long Island and New Jersey.

374
00:18:43,599 --> 00:18:46,400
You know, all the line dancing and all the you know,

375
00:18:46,480 --> 00:18:48,440
all the bars and clubs were doing it.

376
00:18:48,480 --> 00:18:48,599
Speaker 4: Oh.

377
00:18:48,640 --> 00:18:51,359
Speaker 1: I believe it because I remember that that wave in

378
00:18:51,400 --> 00:18:53,960
the nineties, that wave a lot of country was huge,

379
00:18:53,960 --> 00:18:56,960
and it was very very mainstream in that in that sense.

380
00:18:57,079 --> 00:19:00,119
Speaker 2: Yeah, yeah, but it's you know, my kind of one

381
00:19:00,160 --> 00:19:02,519
of my running jokes is, yeah, what you'd expect, you know,

382
00:19:02,720 --> 00:19:05,440
nice Italian boy from Brooklyn playing country music, you know.

383
00:19:06,119 --> 00:19:07,880
But you know, I have all the accouterment, you know,

384
00:19:07,960 --> 00:19:10,920
the the Western boots and the Western shirts, and I

385
00:19:10,960 --> 00:19:12,920
never want I have a couple of stetsons. I only

386
00:19:13,000 --> 00:19:15,319
wore I think once when we played we actually did

387
00:19:15,319 --> 00:19:18,039
do a wedding. But they were country music fans, so

388
00:19:18,039 --> 00:19:20,480
we are to our country music. That's what they wanted.

389
00:19:20,480 --> 00:19:22,680
Speaker 1: By the way, I'm curious about the pizzeria. So you

390
00:19:22,839 --> 00:19:24,000
owned it for a couple of years and.

391
00:19:23,960 --> 00:19:27,240
Speaker 2: Yeah, three years, ninety ninety ninety two, and then why

392
00:19:27,279 --> 00:19:27,839
did you give it up?

393
00:19:27,880 --> 00:19:29,000
Speaker 1: It failed? Oh really?

394
00:19:29,039 --> 00:19:30,880
Speaker 2: Yeah, we were the small guy in town. You know,

395
00:19:30,920 --> 00:19:33,759
there was a pizzer on every block. And there were

396
00:19:33,799 --> 00:19:38,200
two main drags in our neighborhood, Manhattan Avenue and Nasa

397
00:19:38,400 --> 00:19:42,160
Avenue that kind of intersect at one point, and all

398
00:19:42,200 --> 00:19:45,440
the pizzerias and businesses are on that on those two streets.

399
00:19:46,119 --> 00:19:49,119
We were on a boulevard. Parking was hard, there were

400
00:19:49,119 --> 00:19:51,559
no other stores there, and you know, we were the

401
00:19:51,559 --> 00:19:53,920
new guy in town. Y. We you know, we made

402
00:19:54,000 --> 00:19:57,279
enough just like to pay the bills. But after three years,

403
00:19:57,279 --> 00:19:59,920
I'm like, I'm not doing this. I'm marking like nine

404
00:20:00,039 --> 00:20:02,960
the one hundred hours a week. I can imagine, Yeah,

405
00:20:03,000 --> 00:20:05,759
I'm done. And we couldn't even say I'm like I said,

406
00:20:05,799 --> 00:20:08,440
I'm an open book. I'm honest. We couldn't even sell

407
00:20:08,480 --> 00:20:10,799
the business because we couldn't show a profit. Yeah, so

408
00:20:10,880 --> 00:20:14,279
we just we we sold whatever, liquidated whatever equipment we

409
00:20:14,319 --> 00:20:17,160
could yeahs and said, you know, just chalk it up

410
00:20:17,160 --> 00:20:19,359
to experience.

411
00:20:18,960 --> 00:20:23,759
Speaker 1: Right right, you know, yeah, yeah, exactly, and life went on. Yeah, yeah,

412
00:20:23,799 --> 00:20:24,000
you know.

413
00:20:24,319 --> 00:20:26,160
Speaker 2: But I always say, you know, if we hadn't done it,

414
00:20:26,279 --> 00:20:28,400
we'd always be kicking ourselves in the butt saying, oh,

415
00:20:28,400 --> 00:20:30,599
what is exactly what could have happened?

416
00:20:30,599 --> 00:20:31,920
Speaker 1: So absolutely it was.

417
00:20:31,960 --> 00:20:34,240
Speaker 2: It was a great learning experience, which what I took

418
00:20:34,240 --> 00:20:36,279
away from there is I'll never own my own process

419
00:20:36,359 --> 00:20:37,000
again ever.

420
00:20:37,960 --> 00:20:40,039
Speaker 1: No, thank you. I don't blame you. By the way,

421
00:20:40,079 --> 00:20:41,880
So should we talk about where the name Brooklyn Mike

422
00:20:41,960 --> 00:20:45,079
comes from, because you weren't always Brooklyn Mike.

423
00:20:45,240 --> 00:20:51,519
Speaker 2: No, I've always been Mic from Brooklyn. So it's got

424
00:20:51,559 --> 00:20:54,640
to be over it's got to be over fifteen years ago,

425
00:20:54,680 --> 00:20:57,559
because I know when we moved to New Hampshire, we

426
00:20:57,599 --> 00:20:59,720
lived on the east side. We were on Harvard Street

427
00:21:00,359 --> 00:21:03,279
and we lived there for about ten years, and then

428
00:21:03,319 --> 00:21:05,440
we moved to the West side, which that's where we

429
00:21:05,480 --> 00:21:07,799
are now. We're just like a couple of blocks from

430
00:21:07,839 --> 00:21:14,400
the Bedford border. So I know this came up, This

431
00:21:14,519 --> 00:21:18,799
Brooklyn Mike nomenclature came up when I was still at

432
00:21:18,799 --> 00:21:20,440
the old house. So I know it's more than fifteen

433
00:21:20,480 --> 00:21:23,039
years ago. So I'm going to say between maybe seventeen

434
00:21:23,079 --> 00:21:26,079
eighteen years ago something like that. Well, I used to

435
00:21:26,559 --> 00:21:30,680
watch this show on Manchester Public Television called Norman Friends,

436
00:21:31,400 --> 00:21:35,880
which was the great late Norm Moody was the host,

437
00:21:36,079 --> 00:21:40,519
and even greater than Norm was his co host, which

438
00:21:40,559 --> 00:21:45,759
happened to be mister Matt Connerton. And so that's where

439
00:21:45,839 --> 00:21:49,279
how we you and I first met, not in person,

440
00:21:49,359 --> 00:21:51,039
but we came to know each other so to.

441
00:21:51,039 --> 00:21:54,279
Speaker 1: Speak, because Norm would take.

442
00:21:54,359 --> 00:21:58,200
Speaker 2: Calls on you know, while the show was going on.

443
00:21:58,240 --> 00:22:00,960
He would take phone calls, which was fine, yeah, and

444
00:22:01,279 --> 00:22:05,279
you know, no big surprise, I called in, which you know,

445
00:22:05,599 --> 00:22:08,079
That's how I came to know Peter and I started

446
00:22:08,079 --> 00:22:10,160
calling Peter's And it's kind of funny because when I

447
00:22:10,160 --> 00:22:11,559
think back to it, I would do it in New

448
00:22:11,640 --> 00:22:14,279
York too. I would call in like I've won some

449
00:22:14,599 --> 00:22:16,240
like prizes on radio shows.

450
00:22:16,599 --> 00:22:17,839
Speaker 1: Like I wasn't like a.

451
00:22:17,720 --> 00:22:20,400
Speaker 2: Prize hog, but every now, if it was like something

452
00:22:20,440 --> 00:22:22,480
that interested me, I'd say I won like two or

453
00:22:22,480 --> 00:22:25,599
three things in New York over the years. So it

454
00:22:25,640 --> 00:22:27,799
was always kind of fun to like connect with the

455
00:22:27,839 --> 00:22:29,400
disc jockey. I thought it was always fun, you know,

456
00:22:29,880 --> 00:22:31,599
because I wanted to hear myself on air. I couldn't

457
00:22:31,640 --> 00:22:34,960
care about that. Yeah, So so anyway, I called in

458
00:22:35,039 --> 00:22:37,400
Norman friends the first time that I called in, and

459
00:22:37,440 --> 00:22:39,599
you know, you'd say, you know, oh who's online?

460
00:22:39,680 --> 00:22:40,240
Speaker 1: Or what's your name?

461
00:22:40,480 --> 00:22:44,119
Speaker 2: Actually you would answer the phone, and so I said, oh,

462
00:22:44,160 --> 00:22:46,400
my name is Mike. And I don't know if it

463
00:22:46,440 --> 00:22:50,799
was right right on the spot or eventually, I just

464
00:22:50,920 --> 00:22:53,400
I guess I didn't feel comfortable giving my last name.

465
00:22:54,440 --> 00:22:57,160
It was either that or I remember saying, well, you know,

466
00:22:57,200 --> 00:23:00,000
there were so many mics, and there are other mics

467
00:23:00,079 --> 00:23:02,640
probably that do call in, so just to make it

468
00:23:02,680 --> 00:23:05,720
easy and differentiate, I'm from Brooklyn, so just call me

469
00:23:05,720 --> 00:23:08,680
Brooklyn Mic. Yeah, and that's how it started. Yeah, you know,

470
00:23:08,880 --> 00:23:11,039
I kind of gave myself, you know, you know, my

471
00:23:11,119 --> 00:23:12,480
own stupid nickname.

472
00:23:12,720 --> 00:23:14,920
Speaker 1: It works, it works. Yeah, you've been Brooklyn Mic ever

473
00:23:14,960 --> 00:23:16,440
since Peter asked me.

474
00:23:16,839 --> 00:23:20,039
Speaker 2: Peter asked me recently, says, you know, when hopefully you

475
00:23:20,079 --> 00:23:23,000
start performing out places, are you, you know, going to

476
00:23:23,039 --> 00:23:25,599
book yourself as Brooklyn Mike. I'm like, no, no, it's

477
00:23:25,640 --> 00:23:28,960
like why not, Yeah, it's kind of it's kind of pretentious.

478
00:23:29,000 --> 00:23:31,079
I think I don't think I think you should. I

479
00:23:31,079 --> 00:23:32,960
don't know, I said, I'm going to think about it.

480
00:23:33,400 --> 00:23:36,839
A funny little anecdote about that is that I did

481
00:23:37,160 --> 00:23:39,920
one another place in Greenwich Village that used to do

482
00:23:40,519 --> 00:23:43,000
plenty of them, that would do open mics, and I

483
00:23:43,039 --> 00:23:45,480
only did an open mic one time in Greenwich Village. Again,

484
00:23:45,519 --> 00:23:49,240
this is like mid eighties, and like, I'm gonna do it.

485
00:23:49,240 --> 00:23:50,720
It's gonna be kind of fun. I even played on

486
00:23:50,759 --> 00:23:53,079
the street one time with the guitar case open in

487
00:23:53,079 --> 00:23:56,079
the village. It's just a fun experience. So it's something

488
00:23:56,079 --> 00:23:58,079
I made. One thing I never did though. I never

489
00:23:58,079 --> 00:24:01,559
played on the subway that I wouldn't do. So I

490
00:24:01,559 --> 00:24:06,960
played this open mic once at this bar in Greenwich Village.

491
00:24:07,680 --> 00:24:11,240
And again, my my last name is like very ethnic,

492
00:24:11,319 --> 00:24:15,440
not that it's that difficult, but my joke was always,

493
00:24:15,720 --> 00:24:18,720
you know, usually when people get married, the woman takes

494
00:24:18,759 --> 00:24:19,559
the husband's name.

495
00:24:19,799 --> 00:24:20,599
Speaker 1: Yeah, And.

496
00:24:22,599 --> 00:24:24,839
Speaker 2: I always said I would have preferred to take my

497
00:24:24,839 --> 00:24:27,000
wife's name because I just like it better, you know.

498
00:24:27,480 --> 00:24:30,079
And so I booked myself as Mike and then I

499
00:24:30,160 --> 00:24:31,000
used her last name.

500
00:24:31,039 --> 00:24:34,720
Speaker 1: Oh no kidding, Yeah, interesting, Oh that's funny, that's funny. Well,

501
00:24:34,759 --> 00:24:35,640
do you want to play.

502
00:24:35,359 --> 00:24:36,079
Speaker 4: Something for us?

503
00:24:36,200 --> 00:24:38,759
Speaker 1: Yeah? Okay, if you're just joining us. Brooklyn. Mike is

504
00:24:38,799 --> 00:24:41,599
here with us live in studio. He's got his guitar,

505
00:24:41,880 --> 00:24:44,839
and I'm going to bring the level up on that guitar.

506
00:24:45,920 --> 00:24:49,440
And uh, you know we're already live, so no chance

507
00:24:49,440 --> 00:24:50,559
to do a proper sound check.

508
00:24:50,640 --> 00:24:54,119
Speaker 2: But uh, I have the level set right at midway,

509
00:24:54,359 --> 00:24:57,119
both volume and tone, so I could always adjust it

510
00:24:57,160 --> 00:24:59,160
if I that's great.

511
00:24:59,200 --> 00:25:04,039
Speaker 1: It's plenty of plenty loud. Yeah, yeah, okay, yeah, sounds

512
00:25:04,079 --> 00:25:08,039
good in the headphones. Make it a little less bright here.

513
00:25:08,079 --> 00:25:16,759
Speaker 4: Okay, So.

514
00:25:19,039 --> 00:25:22,519
Speaker 2: Not to be redundant, but Gordon Lightfoot, I just feel

515
00:25:22,559 --> 00:25:24,359
I have to start with a song of his. Okay,

516
00:25:25,079 --> 00:25:28,319
So here's a song again. This is a real old one.

517
00:25:28,359 --> 00:25:32,359
This goes way back. I don't know, sixty eight, sixty nine,

518
00:25:34,200 --> 00:25:37,440
and certainly not a song anyone would know unless you

519
00:25:37,480 --> 00:25:40,319
know you're a Gordon Lightfoot fan or have his albums

520
00:25:40,319 --> 00:25:42,119
and you know, would be familiar with it. Even if

521
00:25:42,119 --> 00:25:44,079
you're not a fan, if you have the album, you

522
00:25:44,160 --> 00:25:47,480
might know the song. Yeah, but I'm gonna start this one.

523
00:25:47,599 --> 00:25:49,920
I played this once years ago on Peter's show. He

524
00:25:50,119 --> 00:25:53,880
really liked it, okay, and I think it's apropos for

525
00:25:54,039 --> 00:25:57,200
today because it's entitled Saturday Clothes.

526
00:25:57,400 --> 00:25:59,279
Speaker 1: Ah, it's a little.

527
00:25:59,000 --> 00:26:03,039
Speaker 2: Tale about I kind of envisioned a young guy going

528
00:26:03,039 --> 00:26:05,160
out to live on his own for the first time,

529
00:26:05,839 --> 00:26:08,400
maybe going away to college, and having his own little

530
00:26:08,400 --> 00:26:12,480
place and really kind of something I think a lot

531
00:26:12,559 --> 00:26:15,519
of us could relate to, like learning how to do

532
00:26:15,599 --> 00:26:17,440
things on your own for the first time, you know,

533
00:26:17,519 --> 00:26:20,119
away from mom and all that good stuff, you know.

534
00:26:20,680 --> 00:26:25,079
And so he's really going through that process in his

535
00:26:25,119 --> 00:26:29,519
own place here, and every Saturday he has a gathering

536
00:26:29,599 --> 00:26:31,960
at his home or his apartment, whatever it may be,

537
00:26:32,519 --> 00:26:35,359
and his old friends come over every Saturday night, you know,

538
00:26:36,000 --> 00:26:41,799
and at the end of the night, everybody leaves, and

539
00:26:42,000 --> 00:26:44,319
he's already looking forward to the next Saturday.

540
00:26:44,480 --> 00:26:44,640
Speaker 1: You know.

541
00:26:44,680 --> 00:26:47,240
Speaker 2: He's like cleaning up after the mess that they've left.

542
00:26:47,799 --> 00:26:50,039
And that's kind of what this little tune is about.

543
00:26:50,119 --> 00:27:00,279
And it's called, like I said, Saturday Clothes.

544
00:27:05,839 --> 00:27:11,920
Speaker 4: I feel a little blue because I can't sew. There's

545
00:27:11,920 --> 00:27:18,599
still a lot of things that I should know. Anyone

546
00:27:18,680 --> 00:27:26,839
can guess. I don't know how to press my Saturday clothes.

547
00:27:28,160 --> 00:27:34,440
Everyone who's going home. I feel a little sad to

548
00:27:34,640 --> 00:27:40,799
watch them me. But I'll be cool because I don't

549
00:27:41,200 --> 00:27:48,319
believe the happy times are gone. I could still put

550
00:27:48,359 --> 00:28:05,680
on my Saturday clothes. Everyonebody knows I've got two. That

551
00:28:06,880 --> 00:28:12,519
was a swell time. So now we'll take the bucks

552
00:28:12,559 --> 00:28:16,839
away and put the glasses on the train. I'll see

553
00:28:16,880 --> 00:28:20,759
you all next Saturday.

554
00:28:24,319 --> 00:28:34,160
Speaker 6: Two three.

555
00:28:36,720 --> 00:28:42,960
Speaker 4: I feel a little off because they're gone, and if

556
00:28:43,079 --> 00:28:49,039
my own we're here, I'd still be put in a

557
00:28:49,119 --> 00:28:54,079
week or two. There's lots of things to do in

558
00:28:54,160 --> 00:29:06,200
my Saturday clothes, and everyone's on hold. I've got to

559
00:29:06,200 --> 00:29:15,440
turn bad. Was a swell time. So now I'll take

560
00:29:15,880 --> 00:29:19,680
the butts away and put the glasses on the tray.

561
00:29:20,200 --> 00:30:05,880
I'll see you all next Saturday.

562
00:30:00,279 --> 00:30:13,559
Speaker 1: Hmm, that is wonderful. Wonderful Brooklyn. Mike is here with

563
00:30:13,640 --> 00:30:17,279
us a live in studio And uh so that was

564
00:30:17,400 --> 00:30:19,839
Is Gordon Lightfoot your your favorite Did you say he

565
00:30:19,920 --> 00:30:24,400
was your favorite favorite singer songwriter? Absolutely? What what is

566
00:30:24,440 --> 00:30:27,880
it like? Is it is it possible to sort of

567
00:30:28,240 --> 00:30:30,319
describe what it is about him that connects with you

568
00:30:30,359 --> 00:30:30,680
so much?

569
00:30:30,720 --> 00:30:36,480
Speaker 2: Yeah, this has been asked of me. Well, on the surface,

570
00:30:36,519 --> 00:30:42,200
I love his voice, his singing style, but just his

571
00:30:42,440 --> 00:30:46,880
the music in general. I mean, uh, you know, he's

572
00:30:46,880 --> 00:30:51,359
the consummate storyteller. People usually refer to him as that,

573
00:30:53,240 --> 00:30:57,359
and there's something about uh. It's kind of funny because

574
00:30:57,920 --> 00:31:03,200
many of my favorite UH musicians singer songwriters are Canadian,

575
00:31:03,920 --> 00:31:06,839
and I think it's something about, you know, you're from

576
00:31:06,880 --> 00:31:11,160
a different place. Wherever you're from, you kind of have

577
00:31:11,559 --> 00:31:14,759
different sensibilities, and I think it comes out in the songwriting.

578
00:31:17,200 --> 00:31:20,799
Like Joni Mitchell is my favorite female vocalist, She's Canadian.

579
00:31:21,599 --> 00:31:25,880
Another one of my favorite songwriter singer songwriters is Bruce Coburn,

580
00:31:26,319 --> 00:31:27,160
also Canadian.

581
00:31:28,880 --> 00:31:29,440
Speaker 1: Dan Hill.

582
00:31:31,200 --> 00:31:34,359
Speaker 2: I don't know, it's just something I've just always loved

583
00:31:34,400 --> 00:31:42,039
his music and just something different about it. Certainly, you know,

584
00:31:42,160 --> 00:31:47,559
started out as straight folk, but then like a lot

585
00:31:47,640 --> 00:31:53,759
of music of that was coming folk music that was

586
00:31:54,759 --> 00:31:58,680
popular in the sixties and those singer songwriters and bands

587
00:31:58,720 --> 00:32:02,559
that can I married through into the you know, late

588
00:32:02,640 --> 00:32:04,119
sixties into the seventies.

589
00:32:04,480 --> 00:32:07,240
Speaker 1: You know, there was a change. There was like an.

590
00:32:07,200 --> 00:32:11,400
Speaker 2: Infusion of country and so then we get you know,

591
00:32:11,480 --> 00:32:16,359
country rock. And it's also kind of funny because growing up,

592
00:32:16,519 --> 00:32:19,440
when I was really young, there was an elderly woman

593
00:32:19,599 --> 00:32:23,079
we had. We lived in a six family apartment house

594
00:32:23,119 --> 00:32:26,279
that my parents owned and downstairs from us, we were

595
00:32:26,319 --> 00:32:27,720
on the second floor. On the first floor, there was

596
00:32:28,160 --> 00:32:32,240
elderly woman and she lived with our son, and we'd

597
00:32:32,279 --> 00:32:35,440
go down when we were really really young, like you know, five, six,

598
00:32:35,559 --> 00:32:38,519
seven years old, and we just like spent time down

599
00:32:38,559 --> 00:32:40,920
there because we were just like friendly with the neighbors.

600
00:32:41,480 --> 00:32:45,079
And she would have I don't remember what program it

601
00:32:45,200 --> 00:32:49,000
was on TV, but she loved country music, but I

602
00:32:49,039 --> 00:32:52,279
mean country western, and I hated it. Its just I

603
00:32:52,359 --> 00:32:55,200
just felt like it was just so corny, because you know,

604
00:32:55,279 --> 00:32:57,680
I wanted to hear the Beatles and you know all that,

605
00:32:58,200 --> 00:33:01,400
and so I I was always in the back of

606
00:33:01,440 --> 00:33:04,759
my I think subconsciously thought I don't like country music.

607
00:33:04,799 --> 00:33:09,359
I hate country music, right, And then the evolution of

608
00:33:09,880 --> 00:33:13,079
I should say the infusion of country music into rock.

609
00:33:14,759 --> 00:33:16,440
So many of the bands that we grew up with

610
00:33:16,480 --> 00:33:18,720
that I wound up loving. I'm thinking, oh, these are

611
00:33:18,720 --> 00:33:22,480
great rock bands. I love them. But looking back on it,

612
00:33:22,599 --> 00:33:25,880
there was like a lot of country influence. So Eagles, Poco,

613
00:33:27,200 --> 00:33:29,759
even Crosby Still's Nash. You know, you went from folk,

614
00:33:30,359 --> 00:33:32,359
you know, and then there was rock elements. But then

615
00:33:32,720 --> 00:33:34,839
and even if you know, when you see videos and

616
00:33:34,920 --> 00:33:39,000
pictures of these guys. They were wearing like country outfits,

617
00:33:39,039 --> 00:33:41,480
Like the shirts were like all deck down and stuff.

618
00:33:41,519 --> 00:33:43,440
Speaker 1: It was it was a style, you know.

619
00:33:44,000 --> 00:33:47,039
Speaker 2: And so unbeknownst to me, it was like I was

620
00:33:47,079 --> 00:33:51,920
absorbing that, you know, and not really putting a label

621
00:33:51,960 --> 00:33:54,319
on it, you know what I mean. Not that that's necessary,

622
00:33:54,480 --> 00:33:56,400
but it's just kind of funny how things turn, you know,

623
00:33:57,480 --> 00:33:58,960
And then I wind up being in country bands.

624
00:33:59,279 --> 00:34:03,440
Speaker 1: I'll go, figure, we have we have a call. Hello,

625
00:34:03,759 --> 00:34:10,079
call her? Who's on the line. Good morning, Gene Simmons,

626
00:34:10,960 --> 00:34:15,000
Gene Simmons, Oh my goodness, Jean Simmons of Kiss. Welcome, sir.

627
00:34:17,360 --> 00:34:20,440
Speaker 3: I was just doing in doing my early Christmas shopping

628
00:34:20,519 --> 00:34:25,119
for and I uttered it unleashed. Wow, And I heard

629
00:34:25,199 --> 00:34:28,360
the Brooklyn Mike on your show. Is that correct?

630
00:34:29,000 --> 00:34:31,840
Speaker 1: Brooklyn Mike is here, you know, Gene Simmons of Kiss,

631
00:34:31,920 --> 00:34:35,760
another real New Yorker. Yes, yes, that's right.

632
00:34:36,079 --> 00:34:38,760
Speaker 3: In fact, that's why I was calling. I know that

633
00:34:39,679 --> 00:34:42,440
Brooklyn Mike is a very humble guy, and he will

634
00:34:42,480 --> 00:34:46,320
never admit they actually said in with Wicked Lester for

635
00:34:46,400 --> 00:34:47,280
four shows.

636
00:34:48,400 --> 00:34:48,639
Speaker 4: Wow.

637
00:34:48,960 --> 00:34:50,880
Speaker 1: Yeah, he left that out. He did not mention that

638
00:34:50,920 --> 00:34:54,079
earlier when he was talking about his will, he will

639
00:34:54,119 --> 00:34:54,480
deny it.

640
00:34:57,000 --> 00:34:59,760
Speaker 2: Gene, I you know, I'm I'm I'm humbled by your

641
00:34:59,760 --> 00:35:04,719
call this morning, but I don't know if you're. At first,

642
00:35:04,719 --> 00:35:06,519
I was thinking, this is the first time you and

643
00:35:06,639 --> 00:35:09,159
you and I have ever spoken, But now it just

644
00:35:09,480 --> 00:35:12,920
you just sparked the memory that one night, way back

645
00:35:12,920 --> 00:35:15,400
in the good old days, you and I spent a

646
00:35:15,440 --> 00:35:21,760
fun evening at Studio fifty four. Wow, Oh the memories.

647
00:35:22,079 --> 00:35:24,000
Speaker 3: That was the night that you and I were doing

648
00:35:24,079 --> 00:35:26,239
lines off the smaller Carly Simmons back.

649
00:35:26,320 --> 00:35:30,000
Speaker 2: Oh, hey, well she didn't mind, so I mean, you know,

650
00:35:31,199 --> 00:35:32,280
get it. Well, the getting's good.

651
00:35:32,280 --> 00:35:36,559
Speaker 1: I guess it was consensual, right, Ah the memories.

652
00:35:36,800 --> 00:35:38,920
Speaker 3: Thanks memories.

653
00:35:40,159 --> 00:35:42,320
Speaker 1: Wow, Well, this is amazing. It's wonderful to have this

654
00:35:42,440 --> 00:35:46,880
kind of reunion happening. Jeene Simmons of Kiss, Well, Matt, I.

655
00:35:46,800 --> 00:35:50,559
Speaker 3: Am absolutely mesmerized that I have my old friend Brooklyn

656
00:35:50,639 --> 00:35:51,559
Mike in the studio.

657
00:35:52,000 --> 00:35:52,199
Speaker 1: Yeah.

658
00:35:52,320 --> 00:35:56,360
Speaker 3: I hang up now and continue my Christmas shopping, all right,

659
00:35:56,599 --> 00:35:58,559
And I just wanted to point out that for the

660
00:35:58,639 --> 00:36:03,679
next fifteen minutes, if you go to Kiss online dot com,

661
00:36:03,679 --> 00:36:07,000
fifteen percent of all coffee monks wow, by one.

662
00:36:07,320 --> 00:36:09,880
Speaker 1: That's at Kiss Online dot Com only for the next

663
00:36:09,920 --> 00:36:11,039
fifteen minutes. Wow.

664
00:36:11,719 --> 00:36:14,679
Speaker 3: So the next fifteen minutes by one coffee munket full price,

665
00:36:15,239 --> 00:36:16,840
get the next one fifteen percent.

666
00:36:17,559 --> 00:36:21,760
Speaker 1: Oh that's a deal. That's that's fantastic. Wow. As amazing

667
00:36:21,800 --> 00:36:23,960
as we New Yorker say, such a deal. Wow.

668
00:36:25,320 --> 00:36:28,639
Speaker 3: I think we do have the four cups where false

669
00:36:28,639 --> 00:36:33,440
Stanways on one and Gene seven Kisses on another. Uh huh,

670
00:36:33,519 --> 00:36:39,840
Acey and of course Peter Chris from chis.

671
00:36:41,440 --> 00:36:44,920
Speaker 1: Wow. Well, that's amazing. So you can get all four.

672
00:36:45,159 --> 00:36:46,000
That's that's great.

673
00:36:47,119 --> 00:36:48,079
Speaker 3: Collect them all, Mat.

674
00:36:48,280 --> 00:36:50,239
Speaker 1: That's wonderful. Got to collect them all.

675
00:36:50,599 --> 00:36:53,079
Speaker 3: I am not a professional math, but I will say

676
00:36:53,079 --> 00:36:56,360
that if you buy the Jean and Paul, you will

677
00:36:56,400 --> 00:36:58,960
get the Ace and Peter at fifteen percent off for

678
00:36:59,000 --> 00:37:00,000
the next fifteen minutes.

679
00:37:00,719 --> 00:37:04,360
Speaker 1: Wow. Oh boy, it just gets better. I hope you'll

680
00:37:04,400 --> 00:37:06,719
extend that, because you know, I am doing a radio show.

681
00:37:06,760 --> 00:37:08,519
I don't think I can make that purchase in the

682
00:37:08,519 --> 00:37:09,559
next fifteen minutes.

683
00:37:12,320 --> 00:37:14,800
Speaker 3: That's something you're gonna have to work out with your people.

684
00:37:14,519 --> 00:37:18,719
Speaker 1: Matt, I understand. Geene Simmons of kiss.

685
00:37:18,639 --> 00:37:22,679
Speaker 3: I am kicking up Brooklyn. Mike's time. Nice to hear

686
00:37:22,760 --> 00:37:24,039
your voice again. Brooklyn.

687
00:37:24,079 --> 00:37:25,119
Speaker 1: Mike, thank you, my friend.

688
00:37:25,400 --> 00:37:28,880
Speaker 3: Maybe you can make a stop on that nighttime show

689
00:37:28,920 --> 00:37:29,800
there on Friday night.

690
00:37:30,119 --> 00:37:33,320
Speaker 1: Thank you, thank you? All right, Oh wow, he's gone

691
00:37:33,360 --> 00:37:35,199
Gene Simmons of Kiss.

692
00:37:35,800 --> 00:37:38,760
Speaker 2: He mentioned Peter Chris. Peter Chris is from my neighborhood

693
00:37:38,760 --> 00:37:41,679
in Brooklyn, Greenpoint, Brooklyn. Oh, yes, yeah, actually the same

694
00:37:41,679 --> 00:37:43,400
street that might that I lived on for a little

695
00:37:43,400 --> 00:37:45,320
while that my brother lived on. Oh no kidding, and

696
00:37:45,440 --> 00:37:48,639
uh on the same street also down the other end.

697
00:37:49,199 --> 00:37:52,559
Barry Manilow. Oh nokiddy, that's pretty wild. Wow, that is Yeah.

698
00:37:52,599 --> 00:37:55,719
Speaker 1: So did you ever interact with Peter bris No, no, no,

699
00:37:56,079 --> 00:37:59,280
or what about Barry? No, no, no. It's nice to

700
00:37:59,280 --> 00:38:01,199
be able to reunit reunite you with.

701
00:38:01,199 --> 00:38:05,599
Speaker 2: G I'm just you know, I'm playing it back in

702
00:38:05,639 --> 00:38:11,360
my in my mind that it was quite quite the affair, something.

703
00:38:11,159 --> 00:38:13,199
Speaker 1: I can imagine. Well, do you want to you want

704
00:38:13,239 --> 00:38:15,440
to play another song for us? I'd love to hear more.

705
00:38:15,519 --> 00:38:17,400
All right, do you mind if I keep it a

706
00:38:17,400 --> 00:38:22,480
little low key? I don't mind at all if I whatever,

707
00:38:22,519 --> 00:38:23,440
whatever you want to play.

708
00:38:27,199 --> 00:38:30,119
Speaker 2: Okay, here's a song again. Dan Fogelberg is my other

709
00:38:30,679 --> 00:38:34,320
singer songwriter hero Man from Peoria, Illinois.

710
00:38:34,440 --> 00:38:37,719
Speaker 1: Huh and yeah.

711
00:38:37,760 --> 00:38:40,000
Speaker 2: I mean if I had to describe myself musically and

712
00:38:40,039 --> 00:38:43,159
what I do, I'd just say the mellow music man, you.

713
00:38:43,119 --> 00:38:43,920
Speaker 1: Know, like it or not.

714
00:38:44,079 --> 00:38:45,960
Speaker 2: I mean, that's just just what I am and what

715
00:38:46,039 --> 00:38:47,920
I do. Sure, but it doesn't mean I don't do

716
00:38:47,920 --> 00:38:51,320
any up tempo stuff. But my heart is really with

717
00:38:51,440 --> 00:38:55,559
like the sentimental, really mellow kind of stuff. So okay,

718
00:38:55,679 --> 00:38:58,400
this one's entitled song from Half Mountain.

719
00:38:58,639 --> 00:39:05,599
Speaker 1: All right, Brooklyn, Mike live and studio, m hm, sounds good.

720
00:39:06,239 --> 00:39:07,679
Speaker 7: All right, Okay, here we go.

721
00:39:25,800 --> 00:39:31,800
Speaker 4: Now the windows. In a moment, it will be raging.

722
00:39:34,039 --> 00:39:39,000
Now my soul is young. In a moment, it will

723
00:39:39,039 --> 00:39:49,480
be aging and higher the pines. I wrote several lines

724
00:39:49,599 --> 00:40:07,000
and left them in a bottle for you to find.

725
00:40:07,199 --> 00:40:12,039
Now the dream is rising. In a moment it will

726
00:40:12,079 --> 00:40:19,079
be passed. This breath is my first, it will all

727
00:40:19,159 --> 00:40:26,920
too soon be my last. And on me with the coast.

728
00:40:28,400 --> 00:40:33,519
I made several toasts to you and me and the sea,

729
00:40:35,199 --> 00:40:38,760
and no one heard.

730
00:41:02,960 --> 00:41:03,440
Speaker 6: Mm hmmm.

731
00:41:13,519 --> 00:41:19,519
Speaker 4: Now wised. In a moment, it will be raging.

732
00:41:21,719 --> 00:41:24,360
Speaker 1: Now my soul is young.

733
00:41:24,840 --> 00:41:31,880
Speaker 4: In a moment, it will be aging and higher. Both

734
00:41:32,360 --> 00:41:39,480
four pines, I wrote several lines and left them in.

735
00:41:39,280 --> 00:41:52,599
Speaker 6: A bottle for you to fine.

736
00:41:56,840 --> 00:42:02,440
Speaker 1: Wow, beautiful, beautiful. So that's side that San Fogelberg. Fel Berg, Yeah, Fogelberg.

737
00:42:02,719 --> 00:42:05,519
What I feel like I've never really listened to much

738
00:42:05,559 --> 00:42:07,719
of him. I mean, what are what are his big

739
00:42:07,800 --> 00:42:11,360
hits again? I forget? Well, there's the Leader of the Band? Uh,

740
00:42:11,559 --> 00:42:15,000
the one he talks about his fut leader of the band.

741
00:42:15,039 --> 00:42:18,880
Speaker 4: Oh yeah, yeah yeah, and then is longer longer than anything?

742
00:42:19,159 --> 00:42:21,639
Speaker 2: Oh, that's the big, big one is that's actually my

743
00:42:21,679 --> 00:42:25,039
wife and I and mine. That's our wedding song, no kidding,

744
00:42:25,239 --> 00:42:30,400
longer and then uh yeah. But I do like twenty

745
00:42:30,480 --> 00:42:33,880
his songs, and wow, none of them are let me see,

746
00:42:34,360 --> 00:42:35,599
none of them are really are hits?

747
00:42:35,679 --> 00:42:42,000
Speaker 1: Yeah yeah, no, that's cool though, actually you know why,

748
00:42:42,440 --> 00:42:46,000
I mean, why be predictable? Yeah, you know, dude, it's

749
00:42:46,039 --> 00:42:49,119
cool that you do some some deep cuts there. Yeah.

750
00:42:49,199 --> 00:42:52,880
Speaker 2: How about a song by Bruce Colburn? Yes, yes, so

751
00:42:53,000 --> 00:42:58,159
this is called Lord of the Starfields Again he was really,

752
00:42:58,360 --> 00:43:04,760
I mean, this guy is a prolific songwriter, is virtuoso guitarist, Yeah,

753
00:43:04,840 --> 00:43:07,280
and really a one hit wonder Wondering Where the Lions

754
00:43:07,280 --> 00:43:10,920
Are nineteen seventy five. I don't know if he had, well,

755
00:43:11,000 --> 00:43:14,000
Danny rocket launcher, yeah, rocket launcher.

756
00:43:14,119 --> 00:43:16,800
Speaker 1: Yeah. In the eighties, that's when I first became aware

757
00:43:16,800 --> 00:43:20,679
of a right now Yeah, yeah, yeah. And this one

758
00:43:20,760 --> 00:43:21,320
is kind of.

759
00:43:23,239 --> 00:43:27,800
Speaker 2: Lord of the Starfields, not really a religious song, but

760
00:43:28,000 --> 00:43:34,199
kind of giving acknowledgment or praise to what I would

761
00:43:34,199 --> 00:43:37,360
refer to. And it's not my own term source. Everything

762
00:43:37,519 --> 00:43:41,480
emanates from yeah, yeah, and it's entitled Lord of the Starfields.

763
00:43:41,480 --> 00:43:43,519
Speaker 1: All right, Brooklyn Mike live in studio.

764
00:43:56,400 --> 00:44:08,840
Speaker 5: Load of the star Fields, Ancient of days, You's maker.

765
00:44:11,639 --> 00:44:18,920
Speaker 4: Here's a song in your praise, Wings of the storm

766
00:44:19,159 --> 00:44:24,000
cloud beginning, and then.

767
00:44:27,400 --> 00:44:31,639
Speaker 6: You make my heart.

768
00:44:32,280 --> 00:44:34,000
Speaker 1: Like a banner in the wind.

769
00:44:37,199 --> 00:44:42,199
Speaker 5: Oh the Fire's song, Keep me birded.

770
00:44:47,400 --> 00:44:50,239
Speaker 4: Oh my, the Fire's a.

771
00:44:50,320 --> 00:44:52,280
Speaker 5: Song, Keep me birded.

772
00:45:08,000 --> 00:45:10,440
Speaker 1: Lord of the star feels.

773
00:45:13,039 --> 00:45:26,920
Speaker 4: Souler of life, heaven under far, both of your life,

774
00:45:28,119 --> 00:45:38,440
voice of the no smile of what to you all

775
00:45:38,679 --> 00:45:49,840
the warrior only comes home to you. Oh on the

776
00:45:49,840 --> 00:45:51,519
fire sun keep me.

777
00:45:57,679 --> 00:45:58,280
Speaker 6: Oh my.

778
00:46:00,079 --> 00:46:11,519
Speaker 8: Fire's son, keeping the fires sun keeping.

779
00:46:30,920 --> 00:46:33,000
Speaker 1: Well, that is cool. Yeah, I've never heard that before.

780
00:46:34,000 --> 00:46:38,519
That's an oldie. Yeah. Yeah. He's known more for producing, right,

781
00:46:38,639 --> 00:46:40,440
He's produced a lot of albums, hasn't.

782
00:46:40,199 --> 00:46:43,320
Speaker 2: He I'm not certain about that. Yeah, but what I

783
00:46:43,360 --> 00:46:47,320
will tell you is his albums are engineered. They're like

784
00:46:47,400 --> 00:46:52,239
the finest sounding, like sonically, the finest albums that I

785
00:46:52,280 --> 00:46:54,239
that I own, and I own like three hundred albums.

786
00:46:54,599 --> 00:46:58,559
They just sound so good the way they're produced and engineered.

787
00:46:58,679 --> 00:47:00,679
Speaker 1: Yeah, Yeah, Ri Scobert and that.

788
00:47:00,719 --> 00:47:02,519
Speaker 2: It's funny because I saw him a number of years

789
00:47:02,519 --> 00:47:04,960
ago and when vinyl was coming out again and he

790
00:47:05,039 --> 00:47:07,400
had a new album and it was on vinyl, and

791
00:47:07,440 --> 00:47:10,519
I bought it, and I'll never buy vinyl again. Honestly,

792
00:47:10,639 --> 00:47:14,239
it just sounded horrible. Really, Yeah, I was really disappointed

793
00:47:14,280 --> 00:47:17,079
with it, especially in comparison to like his old albums

794
00:47:17,079 --> 00:47:19,639
from the seventies, which sounds so good.

795
00:47:20,320 --> 00:47:22,079
Speaker 1: I know, I don't know what it is. I know

796
00:47:22,119 --> 00:47:27,000
that some vinyl now is it's not like there's a

797
00:47:27,079 --> 00:47:29,840
cheaper way to do it where it's not like, uh

798
00:47:30,960 --> 00:47:34,400
where it's basically just they how do they do it?

799
00:47:34,400 --> 00:47:37,079
It's not I don't I don't remember exactly, but it's

800
00:47:37,119 --> 00:47:41,239
it's there's a cheaper way to do vinyl now that's uh,

801
00:47:41,360 --> 00:47:44,039
it's not like the original. It's it's you're basically listening

802
00:47:44,039 --> 00:47:46,320
to a CD, but it's on the record, okay, instead

803
00:47:46,320 --> 00:47:49,920
of uh, you know, instead of listening to actual vinyl. Yeah,

804
00:47:50,039 --> 00:47:51,400
but uh no, that's interesting.

805
00:47:51,480 --> 00:47:53,639
Speaker 2: It wouldn't surprised me though, if he were a producer,

806
00:47:53,719 --> 00:47:56,360
because the guy's brilliant. Yeah yeah, and I've met him

807
00:47:56,360 --> 00:47:56,960
a couple of times.

808
00:47:56,960 --> 00:48:00,320
Speaker 1: Super nice. Oh yeah. But he's still tours. Yeah, he's

809
00:48:00,320 --> 00:48:01,679
still plays it. Yeah yeah good.

810
00:48:01,920 --> 00:48:03,360
Speaker 2: I mean as far as touring, I don't know. But

811
00:48:03,400 --> 00:48:05,199
he still does shows for sure.

812
00:48:05,320 --> 00:48:05,960
Speaker 1: Yeah. Yeah.

813
00:48:06,000 --> 00:48:08,280
Speaker 2: But even like Gordon Lightfoot, I mean he died a

814
00:48:08,320 --> 00:48:11,000
couple of years ago and he was almost eighty five

815
00:48:11,039 --> 00:48:13,079
years old. He's still doing like one hundred shows a year.

816
00:48:13,199 --> 00:48:14,119
Oh wow, crazy?

817
00:48:14,199 --> 00:48:17,519
Speaker 1: Yeah? Wow? Do you want to do? We have time

818
00:48:17,559 --> 00:48:18,840
if you want to do one more? You want to

819
00:48:18,880 --> 00:48:20,480
do one more? See? What should I do?

820
00:48:20,559 --> 00:48:21,079
Speaker 7: What should I do?

821
00:48:21,119 --> 00:48:23,000
Speaker 1: If you're just joining us? We've got Brooklyn Mike here

822
00:48:23,000 --> 00:48:27,480
in studio, a long time member of the extended family

823
00:48:27,519 --> 00:48:30,000
around here. But this is, uh, this is Brooklyn Mike's

824
00:48:30,039 --> 00:48:32,679
first time on this show. Yeah, it's fun. I'm very

825
00:48:32,679 --> 00:48:34,719
excited about it. Like I said, I've.

826
00:48:34,599 --> 00:48:37,320
Speaker 2: Started saying before being that I'm not working around regular

827
00:48:37,400 --> 00:48:39,400
job anymore now now it affords me time to do

828
00:48:40,039 --> 00:48:41,199
you know, or be able to come here in the

829
00:48:41,199 --> 00:48:44,920
morning or yeah, you know, because I was working weekends,

830
00:48:44,960 --> 00:48:47,920
I was working nights and just wasn't conducive to doing

831
00:48:48,000 --> 00:48:49,159
too many other things.

832
00:48:49,360 --> 00:48:56,800
Speaker 1: Yeah, yeah, what should we do here? Would it be

833
00:48:56,840 --> 00:48:58,960
crazy to do another Gordon Lightfoot song? Not at all,

834
00:48:59,119 --> 00:49:02,920
not at all eas your favorite after all? Again, it's

835
00:49:03,000 --> 00:49:06,880
very uh, very selfish of me here. No, that's that's

836
00:49:06,920 --> 00:49:09,920
quite all right. Plus you do you do songs that

837
00:49:10,719 --> 00:49:13,039
a lot of us haven't heard before, so well, see

838
00:49:13,079 --> 00:49:14,079
that's see, that's my thing.

839
00:49:14,119 --> 00:49:17,440
Speaker 2: It's like, hopefully you know, whatever the songs are, you know,

840
00:49:17,519 --> 00:49:20,320
people are enjoying them, and hopefully it makes it more

841
00:49:20,360 --> 00:49:24,000
interesting rather than hearing a song that you've heard three hundred.

842
00:49:23,719 --> 00:49:26,079
Speaker 1: Exact, you know, a thousand times exactly.

843
00:49:25,760 --> 00:49:27,440
Speaker 2: Like I told Peter, like I do a couple of

844
00:49:27,440 --> 00:49:30,400
Eagles songs, but you know, nothing against take it easy.

845
00:49:30,400 --> 00:49:31,679
But I'm not doing it anymore now.

846
00:49:31,880 --> 00:49:32,519
Speaker 1: I know how to do it.

847
00:49:32,559 --> 00:49:34,880
Speaker 2: If somebody requests it, I could do it, yeah, but

848
00:49:34,960 --> 00:49:37,679
it's not My choice is not to do take it easy?

849
00:49:37,800 --> 00:49:39,800
Speaker 1: Yeah, do we really need to hear it? Again? I

850
00:49:39,800 --> 00:49:41,599
don't blame you. You know what I mean, I don't blame you.

851
00:49:42,119 --> 00:49:48,760
Speaker 2: So let's see. So this is actually this is kind

852
00:49:48,800 --> 00:49:52,480
of a moody song. This is also an old one,

853
00:49:52,719 --> 00:49:55,360
just goes back I don't know, sixty six, maybe nineteen

854
00:49:55,400 --> 00:49:58,519
sixty six, sixty seven, can remember, I mean, Gordon was

855
00:49:59,800 --> 00:50:02,519
you he was performing way back in the early fifties,

856
00:50:02,559 --> 00:50:08,760
I think it was. So this song is about the

857
00:50:08,760 --> 00:50:11,199
four seasons, which you know, was kind of apropos right now,

858
00:50:11,239 --> 00:50:16,079
we're kind of changing seasons here. He starts starts with this.

859
00:50:16,199 --> 00:50:19,360
It's four verses and starts with the spring, summer, autumn,

860
00:50:19,559 --> 00:50:21,719
you know, ends with the winter, but then by the

861
00:50:21,800 --> 00:50:24,800
end of the last verse, it's returning to spring again.

862
00:50:26,079 --> 00:50:31,280
And he kind of describes it as you could if

863
00:50:31,599 --> 00:50:33,679
you really listen to it, it could be related to

864
00:50:34,480 --> 00:50:38,920
a relationship between two people. So there's that analogy, so

865
00:50:39,000 --> 00:50:43,039
to speak. And this was actually the first day that

866
00:50:43,119 --> 00:50:46,400
I started that I studied guitar. I was determined to

867
00:50:46,440 --> 00:50:49,280
play a full song the first day, so I went

868
00:50:49,639 --> 00:50:53,440
I had my lessons, and I went home and I learned.

869
00:50:53,480 --> 00:50:55,360
I played this song the first day. So this is

870
00:50:55,400 --> 00:50:56,880
the first song that I learned how to play. On

871
00:50:57,480 --> 00:51:00,679
the guitar, and it's entitled pussy Willows Cattails.

872
00:51:00,880 --> 00:51:03,679
Speaker 1: Okay, so all right, good luck with this one, Brooklyn

873
00:51:03,719 --> 00:51:05,039
Mike live in studio.

874
00:51:04,880 --> 00:51:20,599
Speaker 7: Okay, m.

875
00:51:27,920 --> 00:51:35,440
Speaker 4: Pussy willows, cattails, soft winds and roses, rain pools in

876
00:51:35,519 --> 00:51:44,079
the woodlands, water to my knees, shivery, quivering the warm

877
00:51:44,199 --> 00:51:52,119
breath of spring. Pussy willows, cattails, soft winds and roses,

878
00:51:59,440 --> 00:52:06,840
cat birds and corn fields. Day dreams together, riding on

879
00:52:06,880 --> 00:52:14,119
the roadside. The dust gets in your rise, raveling, disheveling.

880
00:52:14,760 --> 00:52:22,360
The summer nights can bring pussy willows, cattails, soft winds

881
00:52:22,480 --> 00:52:42,000
and roses, slendered rays and colored days, dark blue horizons,

882
00:52:43,039 --> 00:52:52,199
naked limbs and wheat bios, Hazy afternoons, voicing, rejoicing. The

883
00:52:52,280 --> 00:53:00,320
wine cups still bring pussy willows, cattails, soft winds and horses.

884
00:53:07,800 --> 00:53:15,000
Harsh nights and candlelights, wood fires of blazing, soft lips

885
00:53:15,039 --> 00:53:25,119
and fingertips, breasting in muscle treasurey, remembering the promise soft spring,

886
00:53:27,360 --> 00:53:31,920
we see willows, cat tails, soft winds and roses.

887
00:53:52,519 --> 00:53:54,079
Speaker 1: Oh beautiful, beautiful.

888
00:53:54,519 --> 00:53:58,400
Speaker 2: I'm wondering if I could uh substitute my my music

889
00:53:58,480 --> 00:53:59,960
for sedation at the Doctor's Eye.

890
00:54:02,559 --> 00:54:05,480
Speaker 1: You sound great. You sound great, Brooklyn Mike, thank you

891
00:54:05,559 --> 00:54:07,679
so much, my friend. This has been wonderful. It's really

892
00:54:07,679 --> 00:54:09,760
been my pleasure to be here. Thank you, Matt. Absolutely,

893
00:54:09,800 --> 00:54:12,760
and you're gonna be on Retrospectrum Radio right next Friday. Yeah,

894
00:54:12,760 --> 00:54:14,920
it's coming from us this coming Friday. I should say

895
00:54:15,000 --> 00:54:17,480
very good, very good, by the way, before we run

896
00:54:17,519 --> 00:54:18,960
out of time too. I just want to remind everybody

897
00:54:19,000 --> 00:54:23,000
for those listening live on Saturday tonight, the pop punk

898
00:54:23,079 --> 00:54:27,000
pop up at Terminus Underground of course, presented by New

899
00:54:27,000 --> 00:54:30,639
Hampshire Underground. Jenny and I will be there the event

900
00:54:31,000 --> 00:54:33,719
doors at seven pm, All ages fifteen dollars entry, twenty

901
00:54:33,719 --> 00:54:36,599
dollars VIP lounge. Come see some great bands, Island of

902
00:54:36,599 --> 00:54:40,119
Alaska on what You're On gr Im and of course

903
00:54:40,400 --> 00:54:43,760
some great artwork. Jenny will have a table setup. Also,

904
00:54:43,880 --> 00:54:46,480
Dennis Layton will be there with his art with Love

905
00:54:46,559 --> 00:54:50,400
from Faith, Elements and Fantasy, Brenda Drew Designs, Cosmos Creations,

906
00:54:50,440 --> 00:54:55,559
Andre Dumont, Prospero's Painting's Mystics and Chelsea Purington Photography. That

907
00:54:55,719 --> 00:54:58,559
is tonight, doors at seven at one thirty four Hayines

908
00:54:58,599 --> 00:55:00,800
Street and Nashua, New Hampshire. You can go to New

909
00:55:00,800 --> 00:55:04,480
Hampshire Underground dot org for more information. So we look

910
00:55:04,519 --> 00:55:07,119
forward to seeing you there and I believe this is

911
00:55:07,159 --> 00:55:10,920
part of the Winter Stroll in Nashua, so great events,

912
00:55:11,000 --> 00:55:12,840
so come see us. By the way, if you're wondering

913
00:55:12,880 --> 00:55:15,159
what happened to Jenny, she went home because we had

914
00:55:15,159 --> 00:55:18,199
a very important package delivered, so she took an Uber

915
00:55:18,239 --> 00:55:21,440
home microphone, a new microphone for my podcast studio at home,

916
00:55:21,880 --> 00:55:25,400
and it's an expensive item, so she went home to

917
00:55:25,440 --> 00:55:29,599
make sure that the ports pirates didn't get to it.

918
00:55:29,679 --> 00:55:32,039
But Brooklyn, Mike, thank you again, my friend. This has

919
00:55:32,079 --> 00:55:35,960
been absolutely wonderful to have you here and we'll do

920
00:55:36,000 --> 00:55:37,920
it again in the Future're coming back in January, right

921
00:55:37,920 --> 00:55:38,440
to this show.

922
00:55:38,559 --> 00:55:41,360
Speaker 2: Yeah, I believe we're booked for January twenty fourth, outstanding.

923
00:55:41,400 --> 00:55:43,559
Speaker 1: I'll look forward to it. Thank you very much. Absolutely

924
00:55:43,679 --> 00:55:45,880
anything people should know about where to find you online

925
00:55:45,880 --> 00:55:47,519
if they want to book you, or now that you're

926
00:55:47,559 --> 00:55:50,719
taking bookings or gearing up to do.

927
00:55:50,639 --> 00:55:51,360
Speaker 6: That, you know.

928
00:55:51,559 --> 00:55:55,039
Speaker 2: I've got a couple of videos on YouTube, okay, but

929
00:55:55,079 --> 00:55:58,400
they're under my name, which is Michael Plotino plot I

930
00:55:58,519 --> 00:56:00,760
n O okay, first time I've given it out. Oh yes,

931
00:56:01,000 --> 00:56:02,920
but there's just I've just got a couple of videos

932
00:56:02,920 --> 00:56:07,280
on there. I'm just starting to try to have some

933
00:56:07,400 --> 00:56:10,719
kind of online presence. It's very very new to me. Yeah,

934
00:56:10,760 --> 00:56:13,159
you know, I'm still used to recording on a four

935
00:56:13,239 --> 00:56:18,599
track cassette, which I love doing, right, you know, So

936
00:56:18,599 --> 00:56:21,519
certainly if anybody listening really wants to get in touch

937
00:56:21,559 --> 00:56:24,239
with me through any of the radio shows, all you

938
00:56:24,280 --> 00:56:27,199
guys know me and have my contact so that would.

939
00:56:27,039 --> 00:56:30,639
Speaker 1: Be awesome, absolutely absolutely all right, Brooklyn, Mike, thank you

940
00:56:30,679 --> 00:56:32,519
so much, And of course if you missed any part

941
00:56:32,519 --> 00:56:34,039
of today should will be up in just a little

942
00:56:34,039 --> 00:56:38,280
bit at wmnhradio dot org and at my website Mattconnorton

943
00:56:38,360 --> 00:56:40,920
dot com. And that's gonna do it for us for now.

944
00:56:40,960 --> 00:56:42,880
We'll talk at y'all a little bit later.

945
00:56:43,000 --> 00:57:30,239
Speaker 9: Bye, everybody, you're listening to w M and

946
00:57:30,360 --> 00:57:31,880
Speaker 4: H before Luis