1 00:00:00,200 --> 00:00:02,600 Speaker 1: All right, that has live for live music. The band 2 00:00:02,680 --> 00:00:05,240 is jam Demic and we've got the guys in studio 3 00:00:05,280 --> 00:00:07,040 with us. We're going to speak with them in just 4 00:00:07,080 --> 00:00:07,719 a moment. 5 00:00:07,519 --> 00:00:08,560 Speaker 2: But welcome everybody. 6 00:00:08,759 --> 00:00:11,199 Speaker 1: We have entered our number three New Marrow trace of 7 00:00:11,240 --> 00:00:14,919 Matt Connorton Unleashed. We are live from the studios of 8 00:00:15,080 --> 00:00:18,640 wm NH ninety five point three FM and Glorious Manchester, 9 00:00:18,760 --> 00:00:21,600 New Hampshire. If you are listening live today is Saturday, 10 00:00:21,679 --> 00:00:25,160 August sixteenth, twenty twenty five. Jenny is here as well 11 00:00:25,199 --> 00:00:28,719 at the news table, present and accountball and let's see. 12 00:00:28,800 --> 00:00:30,480 Let me get these mics up here, because we got 13 00:00:30,480 --> 00:00:32,640 the guys here, we got a got a full room here, 14 00:00:32,679 --> 00:00:35,439 we got all five guys here. I think we should 15 00:00:35,520 --> 00:00:38,600 let's do this first. Let's start in the corner and 16 00:00:38,719 --> 00:00:41,320 we'll go around and have you each introduce yourselves and 17 00:00:41,560 --> 00:00:43,200 tell us what you do in the band, and we'll 18 00:00:43,200 --> 00:00:44,079 start with you over here. 19 00:00:44,119 --> 00:00:47,880 Speaker 3: Sir, Hi, my name's Chris Volpi Elvin Hollis and I'm 20 00:00:47,960 --> 00:00:50,280 keys and blues harp. 21 00:00:50,479 --> 00:00:52,119 Speaker 2: Okay, welcome Chris, and you. 22 00:00:52,520 --> 00:00:56,039 Speaker 3: Rob McAlpine, Chester, New Hampshire, drums, vocals, percussion. 23 00:00:56,280 --> 00:00:58,280 Speaker 2: Okay, welcome, and you. Hey, do what. 24 00:00:58,280 --> 00:01:01,359 Speaker 4: I'm Joe Birch and I play lead guitar and the 25 00:01:01,399 --> 00:01:01,960 only guitar. 26 00:01:02,200 --> 00:01:04,439 Speaker 2: Okay, all right, very good? 27 00:01:04,480 --> 00:01:07,640 Speaker 1: And you, oh Eric, hang on, I'm sorry. For some 28 00:01:07,680 --> 00:01:11,000 reason I cannot hear you. Uh, what's mike? Let me 29 00:01:11,079 --> 00:01:13,879 turn this up? No, I gotcha, I guess got it. 30 00:01:14,640 --> 00:01:16,680 Why is this so quiet? We planned it that way. 31 00:01:17,680 --> 00:01:21,519 Speaker 2: This is quieter than usual. Oh, I think I found you. 32 00:01:22,040 --> 00:01:24,200 Check one too, I gotcha. There we go, there you 33 00:01:24,239 --> 00:01:25,640 are all right. I'm Eric McIntyre. 34 00:01:25,640 --> 00:01:28,000 Speaker 5: I'm also from Hollis, New Hampshire, and I play bass, 35 00:01:28,640 --> 00:01:31,439 lead singer and kind of band manager. 36 00:01:31,560 --> 00:01:32,959 Speaker 2: Okay, Oh, you got your hands full. 37 00:01:34,239 --> 00:01:37,640 Speaker 6: And you, sir Arthur, I play the tenor sacks and 38 00:01:37,680 --> 00:01:39,159 also alto and baritone. 39 00:01:39,239 --> 00:01:41,599 Speaker 1: Okay, and from Hollis as well. So your name again, 40 00:01:41,640 --> 00:01:43,959 I didn't quite have Drew Arthur. Drew Arthur, all right, 41 00:01:44,000 --> 00:01:44,599 welcome Drew? 42 00:01:44,760 --> 00:01:45,120 Speaker 7: All right? 43 00:01:45,200 --> 00:01:46,959 Speaker 2: So well it was wonderful that. Now is there anybody 44 00:01:46,959 --> 00:01:48,959 else who's who participates in the band who isn't here? 45 00:01:49,040 --> 00:01:50,760 Speaker 5: Or is it because we have a sound guy, Kevin 46 00:01:50,840 --> 00:01:54,719 Kirsted Okay, so he comes with us and helps produce 47 00:01:54,760 --> 00:01:57,519 our sound, comes to our practice every now and then 48 00:01:57,560 --> 00:02:00,519 typically in our rehearsal space at Big Bear Come Down 49 00:02:00,519 --> 00:02:03,599 in Brookline, we do most of our own mixing, yeah, 50 00:02:03,599 --> 00:02:06,760 while we're practicing and rehearsing. But for gigs, it's nice 51 00:02:06,760 --> 00:02:08,000 to have somebody out in the field. 52 00:02:08,319 --> 00:02:11,560 Speaker 1: Yeah, so yeah, absolutely, Yeah, that's something a lot of 53 00:02:11,560 --> 00:02:14,159 bands don't have, is kind of a dedicated sound guy, 54 00:02:14,240 --> 00:02:16,120 because you know, you're you got to play. You go 55 00:02:16,199 --> 00:02:18,719 to play these places, especially if you're playing a new place, 56 00:02:19,199 --> 00:02:22,400 right you're kind of at the mercy of whoever's there. 57 00:02:23,080 --> 00:02:25,560 Speaker 5: Yeah, I mean we do, like obviously we prefer to 58 00:02:25,560 --> 00:02:28,960 play places that have a dedicated sound system and a 59 00:02:29,080 --> 00:02:31,919 sound engineer to so we don't have to lug our pa. 60 00:02:32,039 --> 00:02:33,840 Speaker 2: I mean, I think every band's dream. 61 00:02:34,439 --> 00:02:37,599 Speaker 5: So as we grow, it's obviously one of the things 62 00:02:37,639 --> 00:02:40,080 that we like to do. But there's also gigs like 63 00:02:40,159 --> 00:02:44,560 Panucci's Alehouse in Nashaware where we have to bring our 64 00:02:44,599 --> 00:02:46,840 own stuff and we want to pay homage to that 65 00:02:46,919 --> 00:02:48,599 were the first ones to give us a gig back 66 00:02:48,599 --> 00:02:50,960 in the day, so we always make we always circle 67 00:02:51,039 --> 00:02:54,240 back there every year or two at least to play 68 00:02:54,280 --> 00:02:57,400 one Gigah. We just love playing downtown Nashville as well. 69 00:02:57,319 --> 00:03:00,719 Speaker 1: Oh yeah, absolutely no, it's wonderful there, very good. So 70 00:03:00,840 --> 00:03:03,000 now tell us about that song Live for Live Music. 71 00:03:03,039 --> 00:03:05,080 How long has that been out? 72 00:03:05,800 --> 00:03:08,879 Speaker 2: Well, we really oh well it's actually been out. 73 00:03:09,240 --> 00:03:11,800 Speaker 5: It got released on June twenty eighth out into the 74 00:03:11,800 --> 00:03:13,919 streaming web, so it's pretty much available. 75 00:03:14,080 --> 00:03:14,360 Speaker 2: Okay. 76 00:03:15,080 --> 00:03:17,479 Speaker 5: We we wrote it this winter. I think we started 77 00:03:17,479 --> 00:03:20,240 on it in February, and it was really Dru's kind 78 00:03:20,240 --> 00:03:23,240 of vision to come up with it, and he wrote 79 00:03:23,400 --> 00:03:27,439 kind of really the chord progression and what we're gonna do, 80 00:03:27,439 --> 00:03:29,120 although it's I think it's a two chord song, so 81 00:03:29,159 --> 00:03:30,319 it's not a huge progression. 82 00:03:30,319 --> 00:03:32,639 Speaker 6: Well, okay, it's it's started off as kind of a 83 00:03:32,639 --> 00:03:35,199 play for if if you ask Alexa to play a 84 00:03:35,240 --> 00:03:37,479 song on Spotify, yeah, if you ask her to play 85 00:03:37,520 --> 00:03:41,000 Jimmy Hendrix, it'll say live at Fillmore East. And so 86 00:03:41,120 --> 00:03:43,280 I kept feeling like, I love that play on Live 87 00:03:43,360 --> 00:03:46,199 for Live for Yeah, and so kind of we're riffing 88 00:03:46,240 --> 00:03:48,000 on that a little bit and then and then you know, 89 00:03:48,120 --> 00:03:49,639 this is the great thing about playing with this band 90 00:03:49,719 --> 00:03:52,360 is you come with just a couple of chords and 91 00:03:52,719 --> 00:03:55,680 it's there's really no predefined Hey, you've got to play 92 00:03:55,680 --> 00:03:57,080 this part, or you got to play that part. It's 93 00:03:57,240 --> 00:03:59,120 let's just see what comes out of it, starting with 94 00:03:59,159 --> 00:04:01,000 a riff, and so we we did that once and 95 00:04:01,039 --> 00:04:02,919 then then Eric and I just kind of hooked up 96 00:04:02,919 --> 00:04:04,159 on some of the lyrics and next thing I know, 97 00:04:04,199 --> 00:04:05,240 we had we had the full song. 98 00:04:05,439 --> 00:04:06,080 Speaker 2: Oh that's cool. 99 00:04:06,360 --> 00:04:08,120 Speaker 1: I always say, too, when when it when it comes 100 00:04:08,120 --> 00:04:09,879 easy like that, right, that's how you know you've really 101 00:04:09,919 --> 00:04:10,479 got something. 102 00:04:10,680 --> 00:04:12,520 Speaker 2: Yes, yeah, yeah, yeah. 103 00:04:12,719 --> 00:04:15,000 Speaker 5: The music just tells me what to write, because I 104 00:04:15,319 --> 00:04:19,000 wrote the lyrics in this song with some of Drew's foundation, 105 00:04:19,920 --> 00:04:22,920 and the other guys really produced a lot of the music. 106 00:04:22,720 --> 00:04:24,759 Speaker 2: Side of it. Yeah, we wrote it. 107 00:04:24,759 --> 00:04:27,639 Speaker 5: It's actually a love story about uh, kind of our 108 00:04:27,720 --> 00:04:31,439 cheating rock and roll love story. I should say, Oh, 109 00:04:31,519 --> 00:04:33,079 if you listen to what I go to the show 110 00:04:33,160 --> 00:04:35,319 with my girlfriend, then I end up meeting this girl 111 00:04:35,399 --> 00:04:37,920 behind the stages in the band and then having kids 112 00:04:37,920 --> 00:04:40,439 and coming back in the circle. So my girlfriend, I 113 00:04:40,439 --> 00:04:43,439 didn't think, is very impressed with the song. But I 114 00:04:43,439 --> 00:04:45,600 didn't even realize that when I was writing it. 115 00:04:45,600 --> 00:04:46,720 Speaker 2: It just flowed. 116 00:04:46,720 --> 00:04:48,759 Speaker 5: The music told me what to put on paper, and 117 00:04:48,800 --> 00:04:50,959 we kicked it around at a rehearsal and practice a 118 00:04:50,959 --> 00:04:53,319 few times and realized, yeah, let's let's get this in the. 119 00:04:53,240 --> 00:04:55,560 Speaker 2: Studio, kind of like your own version of uh love 120 00:04:55,600 --> 00:04:58,680 the one you're with right, Yeah, yeah, yeah. 121 00:04:58,600 --> 00:05:02,040 Speaker 5: We like the Isisley Brothers version of Alwa's Got Killer 122 00:05:02,120 --> 00:05:05,120 groove to it right right? But yeah, speaking coming back 123 00:05:05,160 --> 00:05:06,680 to the Range, that's I don't know if you guys 124 00:05:06,680 --> 00:05:08,759 have ever been there before, but it's an outdoor venue 125 00:05:08,800 --> 00:05:09,800 in Mason, New Hampshire. 126 00:05:09,839 --> 00:05:11,040 Speaker 2: I've heard a lot about it. 127 00:05:11,040 --> 00:05:14,920 Speaker 5: It's just the place is magical. It's family run and 128 00:05:15,279 --> 00:05:17,720 we love playing there for their cruise nights. 129 00:05:18,040 --> 00:05:18,160 Speaker 2: Yea. 130 00:05:18,360 --> 00:05:20,399 Speaker 5: Our date this year got rained out, but we've been 131 00:05:20,399 --> 00:05:22,879 there a couple times in the past few years and 132 00:05:22,920 --> 00:05:24,600 I go to shows there a lot, and it's right 133 00:05:24,639 --> 00:05:26,800 down the road from my house in Hollis and it's 134 00:05:26,839 --> 00:05:29,720 in the middle of the woods. And like I said, 135 00:05:29,720 --> 00:05:33,399 it's magical. So we wanted to write a story. Yeah, 136 00:05:33,600 --> 00:05:36,480 I love story about it, and that's that's what came out. 137 00:05:36,639 --> 00:05:38,040 Speaker 2: Yeah. Yeah, very cool. 138 00:05:38,360 --> 00:05:41,480 Speaker 1: So how long has jam Demick been around cause I 139 00:05:41,519 --> 00:05:43,920 assume it hasn't been the same line up the entire 140 00:05:43,959 --> 00:05:45,759 time the band is or maybe it has, I don't know. 141 00:05:45,920 --> 00:05:49,199 Speaker 5: We've had a couple different iterations. We had a previous drummer, 142 00:05:49,399 --> 00:05:51,759 Chris McCartney, that kind of got us started. I think 143 00:05:51,800 --> 00:05:55,160 we started shortly before COVID. It was probably twenty nineteen 144 00:05:56,120 --> 00:05:58,839 and of twenty nineteen around. I always have parties at 145 00:05:58,839 --> 00:06:01,160 my house because I live on the lake in Hollis, Yeah, 146 00:06:01,560 --> 00:06:03,959 and I've always you know, Joe's played there several times 147 00:06:04,000 --> 00:06:06,199 with his band, So I was always hiring bands to 148 00:06:06,240 --> 00:06:08,639 come and play and selling tickets and having people in 149 00:06:08,680 --> 00:06:11,959 the backyard, yeah, tents and food trucks and it was just, 150 00:06:12,000 --> 00:06:14,879 you know, a big event. And every time I'd go 151 00:06:14,959 --> 00:06:16,720 to hire a band, it's more and more money for 152 00:06:16,759 --> 00:06:18,800 a PA. And I figured, you know what, wouldn't it 153 00:06:18,800 --> 00:06:21,040 be great to have my own PA and my own band. 154 00:06:21,519 --> 00:06:23,480 And I had dabbled with bass a little bit. And 155 00:06:23,519 --> 00:06:26,000 then after one of the open mics that we did 156 00:06:26,079 --> 00:06:29,199 kind of at my house gym parties during a Halloween, 157 00:06:29,279 --> 00:06:32,800 I think Chris came down and played some harp, Joe 158 00:06:32,879 --> 00:06:35,279 was playing guitar, there was the electronic drum kit in 159 00:06:35,319 --> 00:06:39,199 the corner, yeah, And I think that started the juices flowing. 160 00:06:39,240 --> 00:06:42,399 And then Chris's wife sent a message to me and said, hey, 161 00:06:42,480 --> 00:06:45,160 Chris had a great time playing music. You guys should 162 00:06:45,199 --> 00:06:45,839 start a band. 163 00:06:46,079 --> 00:06:47,920 Speaker 2: Yeah, that was the end. That was the beginning of it. 164 00:06:47,959 --> 00:06:48,319 Oh wow. 165 00:06:48,480 --> 00:06:52,079 Speaker 5: Yeah, and then Covid hit and you know, we really 166 00:06:52,160 --> 00:06:54,000 kind of had to take a year off. 167 00:06:54,360 --> 00:06:56,959 Speaker 2: Yeah, talked a lot about what to do, but maybe 168 00:06:56,959 --> 00:06:57,439 not a year. 169 00:06:57,439 --> 00:07:00,759 Speaker 5: But we we would separate in the backyard by fifty 170 00:07:00,800 --> 00:07:03,720 feet with you know, fifty foot XLR cables. 171 00:07:04,759 --> 00:07:08,639 Speaker 2: It was a little ridiculous, and that's where the name came. 172 00:07:09,000 --> 00:07:11,439 So yeah, so I wondered about that. Yeah, to play on. 173 00:07:11,360 --> 00:07:15,959 Speaker 5: The pandemic And our first actual band name was Covid 174 00:07:16,079 --> 00:07:19,959 Operations and that lasted about ten minutes and then we 175 00:07:20,000 --> 00:07:23,160 realized that's not something we ever want to have in 176 00:07:23,199 --> 00:07:25,759 a band, you know how band practices go. 177 00:07:25,800 --> 00:07:28,480 Speaker 2: There were other influences in the room. I love I 178 00:07:28,519 --> 00:07:31,240 love hearing about rejected band names. That's allry. So yeah, 179 00:07:31,279 --> 00:07:31,759 that was it. 180 00:07:31,800 --> 00:07:34,839 Speaker 5: That one that we thought that was pretty pretty catchy. 181 00:07:35,000 --> 00:07:39,279 And then our old keyboard player, Nick George's came up 182 00:07:39,279 --> 00:07:41,879 with jam Demic. We're just kicking ideas around one night 183 00:07:41,920 --> 00:07:45,120 and that was just in passing and I jumped on 184 00:07:45,160 --> 00:07:48,959 it and Facebook slash Jamdemic was available jamdemic dot com 185 00:07:49,000 --> 00:07:52,759 was available, so we just embraced it. And the nice 186 00:07:52,759 --> 00:07:54,639 thing about that is we're the only band in the 187 00:07:54,639 --> 00:07:57,879 world Jamdemic. You we show up no matter where you are, 188 00:07:57,920 --> 00:07:59,800 and it's nice to have something original like that. 189 00:08:00,120 --> 00:08:03,079 Speaker 1: Yeah, that's that's important when picking a band name, is 190 00:08:03,480 --> 00:08:05,399 you know, coming up with something that's that's you're not 191 00:08:05,480 --> 00:08:08,439 gonna find out, Oh, you know, ten other bands already 192 00:08:08,439 --> 00:08:09,000 have this name. 193 00:08:09,079 --> 00:08:12,120 Speaker 5: And yeah, I think the key to finding a band 194 00:08:12,160 --> 00:08:14,480 name now is to buy one of those magnetic poetry 195 00:08:14,560 --> 00:08:16,319 kits and you throw it on the fridge and you 196 00:08:16,399 --> 00:08:18,519 take all the connecting words off, and you put all 197 00:08:18,560 --> 00:08:20,399 the nouns on and you just pick three of them 198 00:08:20,439 --> 00:08:25,000 and run together, and there's your band names lying to Well, 199 00:08:25,000 --> 00:08:26,800 that's what Tom Petty did. I heard they wrote a 200 00:08:26,800 --> 00:08:29,759 whole album based on one of those magnetic kits. 201 00:08:30,000 --> 00:08:30,360 Speaker 2: Relliant. 202 00:08:30,680 --> 00:08:32,360 Speaker 5: Yeah, I don't know what album it was, but I 203 00:08:32,399 --> 00:08:34,799 read that somewhere recently online that they wrote a whole 204 00:08:34,799 --> 00:08:37,879 album based on one of those kits. Every song is 205 00:08:37,879 --> 00:08:40,519 based on one of those magnetic kits. Just by taking 206 00:08:40,559 --> 00:08:44,559 them interest shows goes to show you how much of 207 00:08:44,559 --> 00:08:47,519 a master Tom Petty was as a lyricist right to 208 00:08:47,559 --> 00:08:48,480 be able to write all. 209 00:08:48,320 --> 00:08:50,120 Speaker 2: That, right, that's impressive. 210 00:08:51,039 --> 00:08:55,080 Speaker 1: So when you guys you probably these songs, I would 211 00:08:55,080 --> 00:08:57,440 imagine they do they change when you play them live. 212 00:08:57,639 --> 00:08:59,519 Like a song like live for live music, if I 213 00:08:59,559 --> 00:09:02,279 were to hear you live, it's not gonna sound exactly 214 00:09:02,320 --> 00:09:04,240 like that, right, because it seems like it kind of 215 00:09:04,240 --> 00:09:06,919 gives you some freedom to you know, if you want 216 00:09:06,919 --> 00:09:08,360 to play it longer, if you want to extend the 217 00:09:08,360 --> 00:09:09,200 solo or something. 218 00:09:09,399 --> 00:09:12,519 Speaker 4: Yeah, a song like that, definitely it has some space 219 00:09:12,559 --> 00:09:14,480 in the middle where you can take off and just 220 00:09:14,600 --> 00:09:16,919 kind of bring it to somewhere else. And that's what 221 00:09:16,960 --> 00:09:18,919 we like to do, kind of like as the name, like, 222 00:09:19,360 --> 00:09:23,240 you know, jam resembles, but we can just jam and 223 00:09:23,519 --> 00:09:24,279 see where it goes. 224 00:09:24,480 --> 00:09:27,639 Speaker 1: Yeah, a lot of improv I can imagine. Yeah, yeah, 225 00:09:27,919 --> 00:09:32,840 I can imagine. So a song like that. So obviously 226 00:09:33,240 --> 00:09:35,159 you know, the length that it is the studio version 227 00:09:35,279 --> 00:09:37,320 is good for radio, but I mean can that's like 228 00:09:37,360 --> 00:09:39,480 how long does a song like that get when you 229 00:09:39,559 --> 00:09:40,159 play it live? 230 00:09:40,279 --> 00:09:44,039 Speaker 2: Does Does it pass like six seven minutes? Or it can? 231 00:09:44,159 --> 00:09:46,879 Speaker 5: I mean I would say some of our extended cuts 232 00:09:46,919 --> 00:09:50,039 of different things can go up to ten minutes. Yeah, 233 00:09:50,039 --> 00:09:53,799 like we like a lot of Jerry band stuff as well. Yeah, 234 00:09:53,840 --> 00:09:55,879 like what that's what Leve will make you do, and 235 00:09:55,960 --> 00:09:59,320 that can just go solo after solo and just change 236 00:09:59,320 --> 00:10:01,080 your tone a little it on, you know, like Jerry 237 00:10:01,200 --> 00:10:03,320 used to do, or Drew will change his tone on 238 00:10:03,399 --> 00:10:07,360 the sacks and yeah, Chris will go round on keys 239 00:10:07,399 --> 00:10:08,960 and then he'll pick up the harmonica. 240 00:10:09,360 --> 00:10:09,559 Speaker 2: Yeah. 241 00:10:10,039 --> 00:10:14,240 Speaker 5: I just sit back and watch, yeah, and it's it's nice. 242 00:10:14,399 --> 00:10:16,360 But yeah, I would say it depends on also the 243 00:10:16,720 --> 00:10:20,360 gig that we're doing, Yeah, and looking at the crowd 244 00:10:20,440 --> 00:10:22,600 and kind of I guess that's all decisions that we 245 00:10:22,639 --> 00:10:23,399 make on the fly. 246 00:10:23,720 --> 00:10:25,320 Speaker 2: Sure, sure, so you really know. 247 00:10:25,440 --> 00:10:28,159 Speaker 5: It's it's kind of an open book. 248 00:10:28,200 --> 00:10:30,080 Speaker 1: But it's important right to play with people who you 249 00:10:30,200 --> 00:10:33,080 kind of have. It becomes kind of intuitive right when 250 00:10:33,080 --> 00:10:35,320 you're I'm fascinated by it because I've been in a 251 00:10:35,360 --> 00:10:36,840 lot of bands, but I was never in a band 252 00:10:36,879 --> 00:10:40,799 where you kind of had that sort of freedom. 253 00:10:40,440 --> 00:10:43,240 Speaker 8: To Yeah, so that's that's the tricky thing, right. 254 00:10:43,279 --> 00:10:46,440 Speaker 3: It's it's this opportunity to express yourself and and to 255 00:10:47,159 --> 00:10:50,480 go on flights, but you have to do coordination too. 256 00:10:50,799 --> 00:10:53,480 You've got to be able to communicate, and I think 257 00:10:53,480 --> 00:10:55,919 it's something that a lot of bands probably aspire to, 258 00:10:56,000 --> 00:10:59,000 and I know we are constantly aspiring to be a 259 00:10:59,000 --> 00:11:03,000 better jam band. Yeah, it's not something that necessarily just happens. 260 00:11:03,039 --> 00:11:05,519 You have to You kind of have to plan for 261 00:11:05,559 --> 00:11:08,240 it and then sort of step away and let it happen. 262 00:11:08,879 --> 00:11:12,159 It's tricky. So yeah, you know, so writing a writing 263 00:11:12,240 --> 00:11:17,559 song like like like lib A live music, we we 264 00:11:17,559 --> 00:11:19,360 we knew that. Okay, we want this to be a 265 00:11:19,399 --> 00:11:21,360 jam song. We want to we want to build in 266 00:11:21,679 --> 00:11:24,559 areas where this can just take we can just take 267 00:11:24,600 --> 00:11:27,200 it for a ride. Yeah, and what Eric talking about 268 00:11:27,240 --> 00:11:30,440 passing around solos is great. But then sometimes there'll be 269 00:11:30,440 --> 00:11:34,000 a synergy and two guys will lock onto something and 270 00:11:34,039 --> 00:11:36,600 it starts. You can start taking it somewhere else. Yeah, 271 00:11:36,600 --> 00:11:38,000 and that's when it gets really fun. 272 00:11:38,240 --> 00:11:40,919 Speaker 2: Yeah, I can imagine. So does it ever go wrong? 273 00:11:44,039 --> 00:11:45,200 Does it? Yeah? Yeah? 274 00:11:45,279 --> 00:11:46,559 Speaker 8: It takes a lot of fine tuning. 275 00:11:46,759 --> 00:11:49,120 Speaker 4: Yeah, but without taking that chance, you can't, you know, 276 00:11:49,240 --> 00:11:52,240 maybe come up with something great, right, right, And it's 277 00:11:52,320 --> 00:11:54,639 nice when it pays off and something really walks in. 278 00:11:54,879 --> 00:11:57,000 Speaker 3: Yeah, and it's just fun too. It's kind of like 279 00:11:57,080 --> 00:11:59,399 what when it when it crash. If it crashes, you're 280 00:11:59,440 --> 00:12:01,360 kind of like, oh, well, it didn't work, but that 281 00:12:01,440 --> 00:12:04,200 was really fun trying, right, you know, Yeah, it's not 282 00:12:04,240 --> 00:12:04,879 the end of the world. 283 00:12:04,960 --> 00:12:06,519 Speaker 8: Yeah, the song doesn't stop. 284 00:12:06,759 --> 00:12:09,960 Speaker 2: Bob Ross's a happy accident, right, right, right. 285 00:12:10,519 --> 00:12:12,399 Speaker 1: And if you're and if you're playing original music in 286 00:12:12,440 --> 00:12:13,919 front of a crowd, I mean, they don't they don't 287 00:12:13,960 --> 00:12:16,840 necessarily know, right exactly, they don't know. They don't know 288 00:12:17,000 --> 00:12:17,840 that didn't quite work. 289 00:12:18,320 --> 00:12:20,200 Speaker 5: It is one of the best things about original music 290 00:12:20,240 --> 00:12:22,480 when you're paying playing a cover, you know, I mean 291 00:12:22,639 --> 00:12:24,960 I like to play covers the way they should be played, 292 00:12:25,120 --> 00:12:28,080 and Chris likes to add a personal flare to it, 293 00:12:28,200 --> 00:12:31,000 and I always like to stick somewhat rigid, so you know, 294 00:12:31,080 --> 00:12:32,919 we we bounce back and forth on that. 295 00:12:33,000 --> 00:12:34,399 Speaker 2: But I think some of the covers we. 296 00:12:34,399 --> 00:12:37,320 Speaker 5: Do, you know, people expect it to be that way, 297 00:12:37,399 --> 00:12:40,480 and any mistake is a glaring mistake. Usually you know, 298 00:12:40,840 --> 00:12:44,000 that was only a half away from the right note, right, 299 00:12:44,360 --> 00:12:46,480 you know, things like that. It just people will notice it. 300 00:12:46,519 --> 00:12:49,240 But then again, as a musician, most people. 301 00:12:49,120 --> 00:12:51,000 Speaker 2: Don't notice it. In the crowd, right. 302 00:12:50,799 --> 00:12:54,679 Speaker 5: They're drinking, they're chatting, right, You shouldn't worry about that 303 00:12:54,720 --> 00:12:56,120 stuff because it happens everybody. 304 00:12:56,279 --> 00:12:59,039 Speaker 1: Yeah, I just feel like with covers too, I see, 305 00:12:59,039 --> 00:13:02,639 I like it if it's not exactly you know. My 306 00:13:02,720 --> 00:13:04,320 thing is if I want to listen to the original, 307 00:13:04,320 --> 00:13:06,039 I can go listen to the original, like I want 308 00:13:06,080 --> 00:13:08,519 to hear your interpretation of it, you know what I mean? 309 00:13:09,000 --> 00:13:09,679 Speaker 8: More interesting? 310 00:13:09,840 --> 00:13:11,320 Speaker 2: Yeah, yeah, yeah. 311 00:13:11,320 --> 00:13:13,679 Speaker 5: Sometimes I think as a as the lead singer or 312 00:13:13,720 --> 00:13:17,000 a singer, I want to sing it that way. Yeah, 313 00:13:17,200 --> 00:13:19,200 And it's it's because it's locked in my head. It 314 00:13:19,240 --> 00:13:22,559 allows me to produce it better because I've I've got that. 315 00:13:22,639 --> 00:13:24,840 And then the reason I like the song is because 316 00:13:24,879 --> 00:13:27,960 of the way they sang it. That little bass riff 317 00:13:28,080 --> 00:13:30,559 or whatever riff was in there, so I think paying 318 00:13:31,200 --> 00:13:33,039 make sure make sure some of that's in there for me. 319 00:13:33,519 --> 00:13:35,360 But again that's kind of what's nice about it. Chris 320 00:13:35,399 --> 00:13:36,960 is the the ying and I'm the yang. 321 00:13:39,320 --> 00:13:40,720 Speaker 2: Yeah, and just the way it is. 322 00:13:40,759 --> 00:13:43,799 Speaker 5: And then there's a compromise. We're a democratic band, so 323 00:13:43,840 --> 00:13:46,679 we vote on a lot of stuff. Right, is nobody's decision. 324 00:13:47,039 --> 00:13:49,240 You know, I might lay an idea out there, but 325 00:13:49,679 --> 00:13:53,919 we will vote on it and majority wins. Yeah. 326 00:13:54,240 --> 00:13:58,279 Speaker 4: Yeah, something we're working on him, you know, he's coming along. 327 00:13:58,080 --> 00:14:02,480 Speaker 1: Right, right? What what what do you guys do for covers? 328 00:14:02,480 --> 00:14:04,399 Because I always think, you know, you can kind of 329 00:14:04,399 --> 00:14:08,159 figure out about someone's influences by what they cover, right, Like, 330 00:14:08,159 --> 00:14:08,720 what do you guys? 331 00:14:08,720 --> 00:14:09,799 Speaker 2: What do you guys do for covers? 332 00:14:09,840 --> 00:14:10,120 Speaker 8: All right? 333 00:14:10,240 --> 00:14:13,039 Speaker 3: My favorite cover is the other one by Grateful Dead. 334 00:14:13,840 --> 00:14:17,519 I just love that thing because it's so it's you 335 00:14:17,519 --> 00:14:21,039 can take that anywhere. Yeah, So that's my favorite cover 336 00:14:21,080 --> 00:14:21,440 to play. 337 00:14:21,519 --> 00:14:23,879 Speaker 2: Well, what's yours one of my favorites as well. That 338 00:14:24,000 --> 00:14:26,279 has a lot of decent drums in it. Yeah, like 339 00:14:26,320 --> 00:14:27,840 that one. 340 00:14:28,080 --> 00:14:30,440 Speaker 4: This is Joe speaking, but that one's way out in 341 00:14:30,879 --> 00:14:33,720 you know, left field. But which is which is fine 342 00:14:33,720 --> 00:14:36,519 to do that? So but I sometimes tried to ground 343 00:14:36,559 --> 00:14:39,559 it a little bit. My influences were like Hendrix and 344 00:14:39,679 --> 00:14:43,559 you know, bluesy guitarist things. But but you also use 345 00:14:43,639 --> 00:14:46,679 that type of style on top of a like a 346 00:14:46,919 --> 00:14:50,320 psychedelic groove like like that one. Yeah, and I think 347 00:14:50,320 --> 00:14:52,600 it kind of like homes honds it in a little 348 00:14:52,600 --> 00:14:56,399 bit and grounds it. Yeah, And but I can I 349 00:14:56,440 --> 00:14:58,000 could get out there too, you know, which is. 350 00:14:58,000 --> 00:14:58,480 Speaker 2: A lot of fun. 351 00:14:58,519 --> 00:15:01,360 Speaker 5: Sure, sure, Yeah, we play a lot of Dead covers. 352 00:15:01,399 --> 00:15:04,080 I mean I love trucking and things. But I think 353 00:15:04,120 --> 00:15:06,360 some of our favorite new recent ones that we've been 354 00:15:06,360 --> 00:15:08,399 doing is Light Up or Leave Me Alone by Traffic. 355 00:15:09,120 --> 00:15:11,759 Really enjoy that one. Yeah, it's just such a great 356 00:15:11,799 --> 00:15:13,639 song and I love to sing it. It's just something 357 00:15:13,639 --> 00:15:17,440 about Jim Vivaldi's voice on that. A lot of people 358 00:15:17,440 --> 00:15:19,320 think it was Steven Wynwood singing it, but it's not. 359 00:15:20,399 --> 00:15:20,840 Speaker 2: Yeah, I don't. 360 00:15:21,000 --> 00:15:23,720 Speaker 5: I don't think I even realized, Yeah it's Vivaldi, it's 361 00:15:23,759 --> 00:15:27,120 the other guy in the band, and it's just, uh, 362 00:15:27,879 --> 00:15:29,240 I love singing that song. 363 00:15:29,519 --> 00:15:31,360 Speaker 2: Something about it, you know, you get to really get 364 00:15:31,399 --> 00:15:33,639 in on it. Yeah. We do A long Way to 365 00:15:33,679 --> 00:15:35,919 the Top by a c D. I mean, that's a 366 00:15:35,919 --> 00:15:37,320 lot of fun. We didn't played that in a year 367 00:15:37,360 --> 00:15:37,559 or two. 368 00:15:37,639 --> 00:15:39,759 Speaker 5: I also really like one of the songs Joe brought 369 00:15:39,759 --> 00:15:42,960 in them Changes by Buddy Miles with you know, made 370 00:15:42,960 --> 00:15:45,879 famous by Jimmy Hendricks. Of course, it's just he's just 371 00:15:46,000 --> 00:15:49,720 such a good front front man, showman on that and 372 00:15:49,799 --> 00:15:52,200 great guitar work. It's just a lot of fun to play. 373 00:15:54,399 --> 00:15:54,559 Speaker 2: Now. 374 00:15:54,559 --> 00:15:56,360 Speaker 1: When you so, when you guys play out, do you 375 00:15:56,240 --> 00:15:58,799 do you probably do long shows right like you'll do 376 00:15:59,480 --> 00:16:02,879 I could right you play a long set probably like 377 00:16:02,919 --> 00:16:04,600 you you don't seem like a band that's gonna get 378 00:16:04,639 --> 00:16:06,000 up and do a thirty minute. 379 00:16:06,039 --> 00:16:07,960 Speaker 5: You know, No, we'll go over an hour, hour and 380 00:16:08,039 --> 00:16:10,679 up to an hour and a half yeah, ye minute 381 00:16:10,720 --> 00:16:13,720 break usually play, Yeah, two long sets yeah, for the 382 00:16:13,720 --> 00:16:16,679 most part. Depends on really what the venue wants as well. Yeah, 383 00:16:16,720 --> 00:16:20,240 they'll dictate. Or we're doing a private party, we could 384 00:16:20,240 --> 00:16:22,000 play for two two and a half hours straight. 385 00:16:22,320 --> 00:16:23,200 Speaker 2: Yeah. 386 00:16:23,320 --> 00:16:25,080 Speaker 4: That's one thing. When I go in and see a band, 387 00:16:25,799 --> 00:16:28,440 it's just always inevitable that I walk in and the 388 00:16:28,440 --> 00:16:30,799 band takes a break right away. Yeah, and it's like 389 00:16:30,879 --> 00:16:33,440 they don't you don't see him for like twenty five minutes, yeah, 390 00:16:33,480 --> 00:16:36,440 and you know, and then then it's time, you know, 391 00:16:36,480 --> 00:16:39,639 we'll go on somewhere else. But it's nice when yeah, 392 00:16:39,679 --> 00:16:41,759 a band is there to play and they just yeah, 393 00:16:41,840 --> 00:16:45,039 deliver the oh absolutely in music, because when bands take 394 00:16:45,080 --> 00:16:47,600 breaks to it's never as long as uh, you know, 395 00:16:47,600 --> 00:16:49,399 it always ends up being much longer than what it's 396 00:16:49,440 --> 00:16:51,360 supposed to be. Yeah, you know, like, oh, we're going 397 00:16:51,440 --> 00:16:52,960 to take a ten minute break, and then you know, 398 00:16:53,000 --> 00:16:54,879 a half hour later, they're finally. 399 00:16:55,919 --> 00:17:00,559 Speaker 2: Yeah, they're getting back up, there. Yeah, now tell us 400 00:17:00,600 --> 00:17:01,039 about this. 401 00:17:01,399 --> 00:17:04,079 Speaker 1: So this other track, So we we played Live for 402 00:17:04,160 --> 00:17:06,440 Live Music to ope in the show. But you've got 403 00:17:06,440 --> 00:17:09,200 this other song that that I think we should play 404 00:17:09,200 --> 00:17:11,440 in a moment. But this is already getting some airplay 405 00:17:11,440 --> 00:17:13,519 on radio. You're already get in traction with this one. 406 00:17:13,960 --> 00:17:16,319 Speaker 5: Well, we got traction with Live for Leve Music. As 407 00:17:16,319 --> 00:17:19,799 I said, it was played on another major station on Boston. 408 00:17:21,279 --> 00:17:23,480 But the new one has not been played. This will 409 00:17:23,519 --> 00:17:25,880 be a world radio premiere if you choose to play 410 00:17:25,920 --> 00:17:29,599 Took Me Down. And that's ironically, that's another love story. 411 00:17:29,599 --> 00:17:32,079 I think that's a whole nother story in itself, because 412 00:17:32,119 --> 00:17:34,880 I tend to write lyrics that are based on tragic 413 00:17:34,960 --> 00:17:39,359 love stories or just maybe how much I had to 414 00:17:39,440 --> 00:17:42,359 drink the night before old college, you know, just more 415 00:17:42,799 --> 00:17:45,839 drug sex and rock and roll. And Chris is the 416 00:17:45,880 --> 00:17:48,799 other writer, and he tends to write songs that are 417 00:17:48,880 --> 00:17:52,920 just much more in depth and thoughtful. Or you know 418 00:17:53,079 --> 00:17:56,119 how many mushrooms it takes to get to the fifth dimension. 419 00:17:56,519 --> 00:17:58,759 Speaker 2: Right, how many? 420 00:17:59,599 --> 00:18:00,440 Speaker 7: We don't know. 421 00:18:00,480 --> 00:18:04,160 Speaker 5: We're still researching, okay, But so I think it's just 422 00:18:04,319 --> 00:18:07,000 it's an interesting difference, and that's I think also adds 423 00:18:07,039 --> 00:18:09,720 some variety, but took me down as a is a 424 00:18:10,079 --> 00:18:13,920 reggae themed jam love story that I wrote as well. Okay, 425 00:18:14,039 --> 00:18:15,799 these guys wrote the music I wrote. 426 00:18:16,039 --> 00:18:16,480 Speaker 2: I wrote the. 427 00:18:16,480 --> 00:18:18,319 Speaker 6: Lyrics, and you'll hear it in the song, right this, 428 00:18:18,400 --> 00:18:20,519 This is one of those songs when you hear you go, Okay, 429 00:18:20,720 --> 00:18:22,640 I can see where this this band can go in 430 00:18:22,680 --> 00:18:25,519 a lot of different directions on anyone given night. There's 431 00:18:25,720 --> 00:18:27,519 there's a lot of different places this one can take 432 00:18:27,559 --> 00:18:30,880 off or come back to. And and yeah, I think 433 00:18:30,920 --> 00:18:33,279 it's a it's a showcase for us of of like 434 00:18:33,319 --> 00:18:35,240 I said, Eric's Eric's writing of being able to come 435 00:18:35,319 --> 00:18:37,240 up with with lyrics to two different jams we do. 436 00:18:37,319 --> 00:18:40,799 I mean this was again one that we literally CHRISTI goes, 437 00:18:41,039 --> 00:18:43,519 why are we even thinking about covering another song? Like, 438 00:18:43,640 --> 00:18:46,559 let's make our own original? And within within I think 439 00:18:46,599 --> 00:18:48,920 five minutes, we had a good groove going going, we 440 00:18:49,000 --> 00:18:51,319 had we had a hook we wanted to do, and 441 00:18:51,400 --> 00:18:53,640 within another practice it was okay, we've got something. 442 00:18:53,680 --> 00:18:56,039 Speaker 2: We've got something here. Yeah, Oh very cool. 443 00:18:56,119 --> 00:18:57,680 Speaker 1: Yeah, I gotta ask you, is there is there an 444 00:18:57,680 --> 00:18:58,799 actual band named Tweezer? 445 00:18:59,119 --> 00:19:00,839 Speaker 2: No, No, this is a fish reference. 446 00:19:00,960 --> 00:19:04,200 Speaker 6: Oh, this is the you know, the infamous Tweezer Oh 447 00:19:04,200 --> 00:19:06,160 okay encore song. 448 00:19:06,200 --> 00:19:10,920 Speaker 1: I don't know if there was a Weeezer covers that ask. 449 00:19:11,119 --> 00:19:13,240 Speaker 5: Somewhere in the world a band is writing that down 450 00:19:13,319 --> 00:19:13,880 right now. 451 00:19:13,799 --> 00:19:16,799 Speaker 1: That's right, I hope, so, I hope. So all right, 452 00:19:16,839 --> 00:19:19,599 so let's give this a spin. And so this is 453 00:19:19,640 --> 00:19:22,160 a World Radio Premiere, which means you get the special 454 00:19:22,200 --> 00:19:25,799 World Radio Premiere bumper, which I will use any excuse 455 00:19:25,839 --> 00:19:26,599 to play that. 456 00:19:28,839 --> 00:19:30,599 Speaker 2: But let me make sure I got the track pulled 457 00:19:30,640 --> 00:19:33,079 up here? Where did it go? Where did it go? 458 00:19:33,160 --> 00:19:33,559 I had it? 459 00:19:34,200 --> 00:19:38,359 Speaker 1: Oh ummm, took me down, took me down? There it 460 00:19:38,440 --> 00:19:42,200 is found it okay, So here we go. So this 461 00:19:42,279 --> 00:19:44,359 is the World Radio Premiere. 462 00:19:45,240 --> 00:19:47,480 Speaker 2: I'm having trouble loading it up. There we go. I 463 00:19:47,480 --> 00:19:47,839 got it. 464 00:19:48,000 --> 00:19:50,839 Speaker 1: This is the World Radio Premiere first time ever. You'll 465 00:19:50,880 --> 00:19:53,799 be hearing this on the radio on Matt connorton Unleashed 466 00:19:53,799 --> 00:19:55,880 here on WM and H ninety five point three FM. 467 00:19:55,960 --> 00:20:29,839 This is Jandemic with took me Down. 468 00:20:31,799 --> 00:20:36,880 Speaker 9: Surely I was darling his beauty at the beast. 469 00:20:37,240 --> 00:20:38,119 Speaker 8: He gave you a lave. 470 00:20:38,640 --> 00:20:41,839 Speaker 9: It took me down to stole my heart with esil 471 00:20:54,160 --> 00:20:58,359 drag me in gear will hut opened. 472 00:20:57,759 --> 00:20:58,559 Speaker 2: Up my eyes. 473 00:20:59,680 --> 00:21:03,920 Speaker 7: You're my partner in this world. My heart is hypnotis 474 00:21:04,119 --> 00:21:19,079 for you. It tucked me. 475 00:21:19,119 --> 00:21:28,920 Speaker 10: Down and tubbed me down. 476 00:21:29,359 --> 00:21:50,640 Speaker 7: It tuk me down and turned me down. Don't it 477 00:21:50,720 --> 00:21:54,960 happened with you? It is the joy of my life. 478 00:21:55,319 --> 00:21:58,599 I love you so much, baby, I love you. 479 00:21:58,680 --> 00:22:14,559 Speaker 11: When all my midel build this, join together the honey 480 00:22:15,079 --> 00:22:16,960 on this path of life. 481 00:22:17,880 --> 00:22:25,640 Speaker 9: Take this ring, my darling girl, won't you say my wife? 482 00:22:22,519 --> 00:22:48,119 Speaker 10: He tuk me down, the tongue me down, then turned 483 00:22:48,200 --> 00:22:53,920 me down, then tue me. 484 00:22:53,960 --> 00:24:05,519 Speaker 12: Down, surely almost darning. 485 00:24:06,319 --> 00:24:11,119 Speaker 9: He's mute at the beast. You gave your love, took 486 00:24:11,200 --> 00:24:26,480 me down, stole my heart with easel you here, wrap 487 00:24:26,599 --> 00:24:30,599 your arms around me listening and oom me also type 488 00:24:31,759 --> 00:24:34,920 wrapped your arms around me, dun and move. 489 00:24:34,839 --> 00:24:51,480 Speaker 7: Me up through my life for years it took me down, 490 00:24:55,960 --> 00:25:07,799 had me don something told me. 491 00:26:02,279 --> 00:26:04,000 Speaker 1: I love that I didn't even want to talk over 492 00:26:04,039 --> 00:26:06,920 the fade. That is called took me Down. The band 493 00:26:06,960 --> 00:26:09,759 is Jam Demick and we've got Jan Jam Demic here 494 00:26:09,759 --> 00:26:12,440 in the studio with us. And that is called took 495 00:26:12,480 --> 00:26:14,960 Me Down. And that is a world radio premiere here 496 00:26:15,279 --> 00:26:18,039 on Matt Connorton Unleashed very honored to play that, be 497 00:26:18,079 --> 00:26:19,480 the first ones to play that on the radio. 498 00:26:19,599 --> 00:26:21,200 Speaker 2: So now a great job, guys. I love that song. 499 00:26:21,240 --> 00:26:23,240 Thank you so much. You really really good. 500 00:26:23,359 --> 00:26:25,640 Speaker 1: Yeah, So tell us we're talking off here about where 501 00:26:25,680 --> 00:26:28,640 there was recorded and you mentioned a name that comes 502 00:26:28,720 --> 00:26:29,519 up a lot on the show. 503 00:26:29,599 --> 00:26:34,480 Speaker 5: Actually, yeah, Boardhouse Productions out of Brookline. So Pete, Mick 504 00:26:34,559 --> 00:26:37,519 and Blake are the guys that head that place up 505 00:26:37,720 --> 00:26:42,240 and he's you know, in Brookline, New Hampshire. And you know, 506 00:26:42,279 --> 00:26:45,079 we are the resident band at a place called Big 507 00:26:45,079 --> 00:26:48,079 Bear Lodge, which is part of Andrea's Art Institute. It's 508 00:26:48,079 --> 00:26:50,799 an outdoor sculpture park and they have an event center 509 00:26:50,920 --> 00:26:53,359 up there and we've had an opportunity to come in 510 00:26:53,400 --> 00:26:56,599 and help them with their concerts, okay, and they're like, hey, 511 00:26:56,640 --> 00:26:59,200 you can use the stage every week for your rehearsal. 512 00:26:59,240 --> 00:27:00,400 Speaker 2: So we it was great. 513 00:27:00,400 --> 00:27:02,759 Speaker 5: We got all the gear out of my house and 514 00:27:02,880 --> 00:27:04,680 moved it up over there so we get to rehearse 515 00:27:04,720 --> 00:27:07,559 on a stage. And just turns out Pete lives right 516 00:27:07,559 --> 00:27:10,519 down the road from that and Joe's played there before. 517 00:27:11,240 --> 00:27:14,160 Aerosmith that apparently has played there. We're not quite sure. 518 00:27:14,240 --> 00:27:17,680 Roots of creation just a bunch of Jay Giles band, 519 00:27:17,680 --> 00:27:19,519 A bunch of different people have played there. 520 00:27:19,640 --> 00:27:19,880 Speaker 2: Yeah. 521 00:27:20,319 --> 00:27:23,799 Speaker 5: So having having that connection, Pete came in to help 522 00:27:23,880 --> 00:27:28,240 us with sound initially and donated a console, a newer 523 00:27:28,240 --> 00:27:30,680 console and all the rolland console to help the room 524 00:27:30,759 --> 00:27:33,440 kind of get a kick. We used our Pa gear 525 00:27:33,759 --> 00:27:38,000 for the band as the house stuff. Yeah, And it 526 00:27:38,119 --> 00:27:40,599 was just that relationship with Pete developed, and then when 527 00:27:40,640 --> 00:27:44,440 we were ready to start producing these originals, that logical 528 00:27:44,519 --> 00:27:46,519 choice was to go down the road to Pete's studio, 529 00:27:46,559 --> 00:27:47,480 Boardhouse Productions. 530 00:27:47,599 --> 00:27:47,960 Speaker 2: Yeah. 531 00:27:48,079 --> 00:27:50,240 Speaker 1: Yeah, Boardhouse, that name comes up a lot on the show. 532 00:27:50,920 --> 00:27:53,160 And you mentioned a couple again when we were talking 533 00:27:53,200 --> 00:27:56,519 off air, A Fox of the Flamingos have recorded there, right, and. 534 00:27:56,720 --> 00:28:01,279 Speaker 5: Yeah, Cosmic Blosso he also does the sound for Bad Fish, 535 00:28:01,319 --> 00:28:04,319 which is a Sublime tribute band. He also does all 536 00:28:04,359 --> 00:28:07,599 their productions, or the majority of the man does sound 537 00:28:07,680 --> 00:28:10,559 on the road for Roots of Creation, which is a 538 00:28:10,559 --> 00:28:14,319 real popular and grateful dub God bless those guys have 539 00:28:14,480 --> 00:28:17,200 really made a big name for themselves and in this 540 00:28:17,319 --> 00:28:20,359 area and nationwide. Yeah, really making a difference out there. 541 00:28:20,359 --> 00:28:22,759 So I think what Cosmic Blossom, there's a bunch of 542 00:28:22,759 --> 00:28:24,279 other bands that have come in and out of there. 543 00:28:24,319 --> 00:28:27,240 That my apologies for not remembering them all. Sure, Pete 544 00:28:27,240 --> 00:28:29,640 has also worked I think with Peter Frampton, he did 545 00:28:29,640 --> 00:28:32,640 some stuff with He worked with Warren Haynes. Yeah, a 546 00:28:32,720 --> 00:28:35,480 long list of people, Yeah, Skinner and there's a long 547 00:28:35,480 --> 00:28:39,279 list of people that Pete's worked with. Wow, that's you know, 548 00:28:39,319 --> 00:28:41,200 it's just a logical choice to go there. And as 549 00:28:41,200 --> 00:28:44,000 you've heard it, we love it. Yeah, he really is 550 00:28:44,039 --> 00:28:44,960 a master engineer. 551 00:28:45,119 --> 00:28:47,640 Speaker 1: Yeah, and tell us about that song and what happens 552 00:28:47,799 --> 00:28:49,880 towards the end there is that that's pretty cool, the. 553 00:28:50,240 --> 00:28:53,000 Speaker 2: Little Gnome dance. Yeah, thank you Peter for inventing that. 554 00:28:53,119 --> 00:28:55,559 Speaker 8: So, yeah, there's this is I think I'm guilty of 555 00:28:55,559 --> 00:28:57,319 the Dane I am. 556 00:28:57,440 --> 00:29:00,480 Speaker 3: I always at least I love those like kind of 557 00:29:00,680 --> 00:29:04,440 psychedelic little like ditties that you sometimes hear old old 558 00:29:04,440 --> 00:29:07,920 psychedelic songs like some Floyd songs like for instance, you know, 559 00:29:08,200 --> 00:29:12,400 see Emily play there's that weird little harpsichord thing that. 560 00:29:12,400 --> 00:29:13,960 Speaker 8: Goes on if you familiar with that too. 561 00:29:14,079 --> 00:29:16,400 Speaker 3: But anyway, so I don't know that's part of like 562 00:29:16,440 --> 00:29:19,920 my musical DNA's these weird like renaissanceyse psychedelic things, and 563 00:29:20,000 --> 00:29:25,720 so I started doing that and Joe immediately hurt and 564 00:29:26,119 --> 00:29:26,960 fell in with that. 565 00:29:27,519 --> 00:29:29,599 Speaker 8: And that's the magic that I loved. 566 00:29:29,839 --> 00:29:35,160 Speaker 3: What happens when especially Joe Joel jo key into something 567 00:29:35,599 --> 00:29:38,200 and it becomes more than just a passing thought that 568 00:29:38,240 --> 00:29:38,880 I might have had. 569 00:29:38,920 --> 00:29:40,920 Speaker 8: It suddenly becomes part of the song. 570 00:29:41,160 --> 00:29:43,400 Speaker 4: Yeah, and it fits, you know, it fits a little 571 00:29:43,400 --> 00:29:44,519 breakdown fits perfectly. 572 00:29:44,599 --> 00:29:46,640 Speaker 2: Yeah. Yeah, it's really cool. Yeah. 573 00:29:46,640 --> 00:29:49,279 Speaker 5: So in the studio when we played that, Pete got 574 00:29:49,359 --> 00:29:51,559 up from behind the console and did this little call. 575 00:29:51,640 --> 00:29:54,200 It called it the fairy Gnome Dance because it sounds 576 00:29:54,200 --> 00:29:58,680 a little you know, medieval, yeah, psychedelic, and it's it's 577 00:29:58,720 --> 00:30:01,240 a it's just a different on mix right into the 578 00:30:01,279 --> 00:30:02,039 reggae song. 579 00:30:02,400 --> 00:30:04,759 Speaker 2: You know, it's weird, but it works totally. 580 00:30:04,960 --> 00:30:06,759 Speaker 5: So it's just kind of funny. We talk about a 581 00:30:06,839 --> 00:30:09,400 week it's called the Nome Dance, part of the Fairy Dance. 582 00:30:09,480 --> 00:30:12,240 Speaker 2: It's just funny. Yeah, that's awesome. 583 00:30:12,519 --> 00:30:13,920 Speaker 1: I love it And you should tell us you more 584 00:30:13,920 --> 00:30:15,559 about your involvement at Big Bear. 585 00:30:16,039 --> 00:30:18,079 Speaker 5: Yeah, so, as I said, with a resident band over 586 00:30:18,119 --> 00:30:20,759 there and we helped produce the shows. I mean, I'm 587 00:30:20,880 --> 00:30:23,160 the one of the audio engineers, if you want to 588 00:30:23,240 --> 00:30:25,799 use that term loosely. I'm fairly new to all this 589 00:30:25,839 --> 00:30:28,559 stuff really obviously mix it all with my band, so 590 00:30:28,599 --> 00:30:30,799 I understand how to get the best sound out. My 591 00:30:30,880 --> 00:30:33,680 ears tell me what to do, but Pete has shown 592 00:30:33,720 --> 00:30:36,599 me a ton Also Willie Walker from a band called 593 00:30:36,640 --> 00:30:39,519 the Mighty Colors. They've played with us at Big Bear. 594 00:30:40,079 --> 00:30:44,359 So we started an annual benefit over there for Earth Day. 595 00:30:44,400 --> 00:30:46,160 So we go in, we played for free. We pulled 596 00:30:46,160 --> 00:30:48,839 in the Mighty Colors, they played for free, and we 597 00:30:48,880 --> 00:30:51,519 sold tickets to the event and packed the room and 598 00:30:51,559 --> 00:30:56,160 made you know, Andrea's Institute, the nonprofit, a couple thousand 599 00:30:56,200 --> 00:30:58,920 dollars and beaver Brook as well made a little bit 600 00:30:58,920 --> 00:31:01,240 of money, which is an environment mental cause. So that 601 00:31:01,359 --> 00:31:03,839 was our goal, is to raise and we just wanted 602 00:31:03,880 --> 00:31:07,119 to play in the room. That opportunity of us setting 603 00:31:07,119 --> 00:31:10,319 that benefit up now was a yearly opportunity. So last 604 00:31:10,359 --> 00:31:13,960 year we pulled in a morphous band with one of 605 00:31:13,960 --> 00:31:17,000 the original New England jam band guys, Peter Prince and 606 00:31:17,359 --> 00:31:18,079 Peter Prince in. 607 00:31:18,119 --> 00:31:18,759 Speaker 7: Moon Boot Lover. 608 00:31:18,880 --> 00:31:21,960 Speaker 5: Moon Boot Lover wasn't there, but Peter was just an 609 00:31:22,200 --> 00:31:28,240 amazing guitar player, singer, just unbelievable stage presence, total rock star, 610 00:31:28,319 --> 00:31:30,440 and his list of accolades just goes on and on 611 00:31:30,480 --> 00:31:33,680 and on. So having us being able to pull that 612 00:31:33,839 --> 00:31:37,079 show off, we ended up being asked to, hey, do 613 00:31:37,119 --> 00:31:40,079 you want to help run shows and produce? So all 614 00:31:40,079 --> 00:31:43,279 we've done is try to help you push the technology 615 00:31:43,279 --> 00:31:47,119 over there, get better, get better console, better equipment, better lighting. 616 00:31:47,200 --> 00:31:51,000 So I install all DMX lighting, concert lighting, did all 617 00:31:51,079 --> 00:31:53,640 the got new parts of the stage really kind of 618 00:31:53,640 --> 00:31:56,559 the stage and sound manager and lighting guy over there, 619 00:31:57,559 --> 00:32:01,960 and it's been wonderful for networking the network with you know, 620 00:32:02,000 --> 00:32:03,920 the Soggy Pool boys. We're just st in there recently 621 00:32:04,119 --> 00:32:05,880 rely I have put you know, a feather in my 622 00:32:05,960 --> 00:32:08,599 cap from mixing them. And thank god for Willy from 623 00:32:08,640 --> 00:32:10,319 the Mighty Colors came in and helped me out. 624 00:32:11,119 --> 00:32:11,920 Speaker 2: So he was lead. 625 00:32:11,960 --> 00:32:14,680 Speaker 5: And I'll take a one engineer or stage hand that day. 626 00:32:14,759 --> 00:32:17,119 And yeah, there's other guys that are willing to help, 627 00:32:17,160 --> 00:32:19,680 so they come in and I'll either have them be 628 00:32:19,759 --> 00:32:22,079 lead on the console or or I'll be lead and 629 00:32:22,119 --> 00:32:24,640 they'll it's just a great relationship. No one gets paid, 630 00:32:25,279 --> 00:32:28,079 but being able to have the room and what it's 631 00:32:28,119 --> 00:32:32,119 done for just our stage presence and everything has been 632 00:32:32,160 --> 00:32:33,160 it's been instrumental. 633 00:32:33,400 --> 00:32:36,279 Speaker 4: Yeah, it's an old ski lodge actually from oh really, Yeah, 634 00:32:36,400 --> 00:32:39,359 he's been Musket Mountain or Big Bear, really been a 635 00:32:39,359 --> 00:32:41,240 couple of different names. But I remember skiing there when 636 00:32:41,279 --> 00:32:43,839 I was a kid, and yeah, it's like an old 637 00:32:44,799 --> 00:32:47,480 you know, cathedral ceiling. It's a great hall, great sound 638 00:32:47,519 --> 00:32:50,359 in there and just a you know, very vintage feel too. 639 00:32:50,640 --> 00:32:51,240 Speaker 2: Yeah. 640 00:32:51,400 --> 00:32:53,920 Speaker 5: Probably one of the best sounding rooms in New Hampshire 641 00:32:54,200 --> 00:32:57,039 without a doubt, just because of all the wood. And 642 00:32:57,079 --> 00:32:59,440 we're looking at upgrading the PA equipment pretty soon so 643 00:32:59,480 --> 00:33:02,119 I can get my stuff out of there and getting 644 00:33:02,119 --> 00:33:04,920 a really really nice system that's going to arrival almost 645 00:33:04,920 --> 00:33:06,480 any PA in southern New Hampshire. 646 00:33:06,519 --> 00:33:07,000 Speaker 2: Oh wow. 647 00:33:07,359 --> 00:33:10,599 Speaker 5: So we have a really also close relationship with Metronome Studios. 648 00:33:11,119 --> 00:33:14,640 They're right in Brookline as well. We don't record there, 649 00:33:14,680 --> 00:33:17,920 but they also produce all the lighting and video up 650 00:33:17,960 --> 00:33:21,200 at Guildford for Bank of New Hampshire. Oh so having 651 00:33:21,240 --> 00:33:23,319 those guys and they've been coming to help us out 652 00:33:23,359 --> 00:33:25,079 with a little bit of sound. We just put a 653 00:33:25,119 --> 00:33:28,599 brand new Barringer Wing forty eight channel console in and 654 00:33:28,720 --> 00:33:31,559 digital snakes really upgrading everything, so it's got the best 655 00:33:31,599 --> 00:33:34,000 sound and they've come in and helped me configure it. 656 00:33:34,039 --> 00:33:36,240 Pete came in for five or six hours the other 657 00:33:36,319 --> 00:33:38,759 day on no charge at all to help us configure 658 00:33:38,799 --> 00:33:41,839 this stuff. So it's kind of like a family atmosphere. 659 00:33:42,279 --> 00:33:44,960 And it's because this place is in a nonprofit and 660 00:33:45,119 --> 00:33:48,640 it's a free outdoor sculpture park that anybody can come 661 00:33:48,680 --> 00:33:51,240 at any time, open three hundred and sixty five days 662 00:33:51,240 --> 00:33:54,920 a year. But the Welcome Center has this amazing performance 663 00:33:55,000 --> 00:33:58,160 venue and they run concerts to try to get funds 664 00:33:58,160 --> 00:34:00,319 in to raise money for their nonprofit. So it's a 665 00:34:00,319 --> 00:34:01,559 good yin yang relationship. 666 00:34:01,599 --> 00:34:01,960 Speaker 7: I love it. 667 00:34:02,200 --> 00:34:04,039 Speaker 2: Yeah, it really helped the band out. 668 00:34:04,200 --> 00:34:05,880 Speaker 8: Yeah it has, and and. 669 00:34:07,240 --> 00:34:10,280 Speaker 3: A lot of people don't know about it because it 670 00:34:10,440 --> 00:34:14,760 went from being this skilage and this entertainment, you know 671 00:34:14,880 --> 00:34:20,000 kind of venue that then switched to a more nonprofit 672 00:34:20,280 --> 00:34:25,880 and the artistic side the sculpture park is amazing. It's 673 00:34:25,920 --> 00:34:29,599 all outdoors on these trails and mountains on the mountain, 674 00:34:30,079 --> 00:34:35,000 and they have a residency program where these sculptures come 675 00:34:35,039 --> 00:34:38,639 from all over the world and spend whatever what like 676 00:34:38,679 --> 00:34:42,159 six weeks three weeks, and they're given a stone right 677 00:34:42,360 --> 00:34:46,519 or whatever medium they don't metal, and they create work 678 00:34:46,599 --> 00:34:50,840 that then lives at the site. And so what Eric's 679 00:34:50,840 --> 00:34:54,519 done is kind of brought this closer to the community 680 00:34:55,159 --> 00:34:59,159 by reviving the sort of local connection that Big Bear 681 00:34:59,519 --> 00:35:02,880 used to have for like local music and people just 682 00:35:02,920 --> 00:35:05,000 going there to enjoy music. So it's kind of a 683 00:35:05,039 --> 00:35:09,199 new a symbiotic relationship. I think it's been great for 684 00:35:09,239 --> 00:35:09,920 both parties. 685 00:35:10,039 --> 00:35:13,239 Speaker 2: It really has. Yeah. Oh that's fantastic. Yeah, that's great. 686 00:35:13,320 --> 00:35:14,280 That's great. And where's that? 687 00:35:14,440 --> 00:35:17,079 Speaker 5: So that's in Brookline, Yeah, Brookline, New Hampshire, right across 688 00:35:17,079 --> 00:35:20,119 from the Alamo, which is a little barbecue restaurant thirteen. 689 00:35:20,280 --> 00:35:21,960 Speaker 2: Oh okay, yeah, okay cool. 690 00:35:22,320 --> 00:35:24,199 Speaker 8: Eric's done a great job decking the place out with 691 00:35:24,320 --> 00:35:25,639 video also, Oh. 692 00:35:25,519 --> 00:35:27,039 Speaker 2: Really, uh yeah, it's really nice. 693 00:35:27,039 --> 00:35:28,519 Speaker 5: So we have we just put in a ten ADP 694 00:35:28,679 --> 00:35:32,400 stage camera very much like yours there, so coming in 695 00:35:32,440 --> 00:35:36,639 the ceiling, and we Dave Peas, who's a volunteer over 696 00:35:36,639 --> 00:35:40,159 there also works for Pepper Community Media. He's our video guy. 697 00:35:40,159 --> 00:35:43,400 He comes in has four ten ADP cameras or three 698 00:35:43,519 --> 00:35:46,079 ten ADP plus the stage camera that I just installed, 699 00:35:46,440 --> 00:35:49,519 and we have a video aggregator. So for shows we'll 700 00:35:49,519 --> 00:35:54,599 actually record all the stems on the digital console, all 701 00:35:54,639 --> 00:35:57,920 the wave files from every every channel, and we'll also 702 00:35:58,000 --> 00:36:02,360 have all this awesome video and then we're pitching that 703 00:36:02,519 --> 00:36:06,679 back to the bands because it's great for promo, having 704 00:36:06,760 --> 00:36:10,039 really good quality all the different cuts, and that helps 705 00:36:10,119 --> 00:36:13,400 us defer our costs from every concert make a little 706 00:36:13,400 --> 00:36:16,360 bit of money back, so it's you know, really reasonable 707 00:36:16,440 --> 00:36:18,039 and it's so far it's been good. Some of the 708 00:36:18,079 --> 00:36:21,440 bands have wanted to do that for us. Every practice 709 00:36:21,480 --> 00:36:23,679 we get it for free, so I'm sticking the the 710 00:36:23,840 --> 00:36:26,719 SD card in we can record every practice. I then 711 00:36:26,760 --> 00:36:29,639 bring it home, pulled into to reaper our daw and 712 00:36:29,679 --> 00:36:31,400 then we put it up on Google Drive so we 713 00:36:31,400 --> 00:36:34,239 can hear our progress every week and our whole history 714 00:36:34,280 --> 00:36:37,119 is up there that we can go back on and 715 00:36:37,119 --> 00:36:38,679 look at our catalog. 716 00:36:38,320 --> 00:36:41,440 Speaker 2: And run a spreadsheet of everything. It's you know, I'm 717 00:36:41,480 --> 00:36:42,639 I'm pretty anal about that. 718 00:36:43,079 --> 00:36:46,199 Speaker 4: The technical guy. 719 00:36:44,199 --> 00:36:48,880 Speaker 5: I do all the social media, I do all the booking, 720 00:36:48,920 --> 00:36:53,559 all the promo, everything that that is frontward facing is 721 00:36:53,599 --> 00:36:56,440 me because that's what I do for a living. I'm 722 00:36:56,599 --> 00:36:59,280 you know, I do digital marketing and SKO and websites 723 00:36:59,320 --> 00:36:59,679 and stuff. 724 00:36:59,719 --> 00:37:02,840 Speaker 6: So if you've ever seen Semi Pro with Will Ferrell. 725 00:37:03,199 --> 00:37:06,119 He's a character in that called Jackie Moon. Jackie Moon 726 00:37:06,239 --> 00:37:08,239 is you know, the he's the he's the you know, 727 00:37:08,320 --> 00:37:12,519 star player, he's the coach, he's the owner. And so 728 00:37:12,559 --> 00:37:14,039 a lot of times I refer to Eric as our 729 00:37:14,119 --> 00:37:16,880 Jackie Moon because you know, he's in the band, he's 730 00:37:17,039 --> 00:37:21,559 our manager, he's you know, the number one the sound engineer. 731 00:37:21,679 --> 00:37:22,000 Speaker 2: Right. 732 00:37:22,079 --> 00:37:25,079 Speaker 6: But but you know, honestly that the breakthrough for us, 733 00:37:25,159 --> 00:37:27,280 right having that access to that space at Big Bear, 734 00:37:27,519 --> 00:37:29,440 having that as a space you know, set up and 735 00:37:29,480 --> 00:37:32,679 dedicated for us to be able to utilize that was 736 00:37:32,719 --> 00:37:34,360 I think a big breakthrough for us, and being able 737 00:37:34,400 --> 00:37:37,199 to work on original material because like we talked about, right, 738 00:37:37,239 --> 00:37:40,719 it's it's it's not the first idea that's the best idea, right, 739 00:37:40,760 --> 00:37:43,159 It's like Chris said, he puts that you know, idea out, 740 00:37:43,280 --> 00:37:46,719 Joe latches onto it, Drew latches onto it, Rob and 741 00:37:46,760 --> 00:37:48,960 it becomes something you didn't ever intend to in the beginning. 742 00:37:48,960 --> 00:37:51,119 And so just you know, by virtue of having some 743 00:37:51,199 --> 00:37:54,119 time and space in our calendars over the winter, Eric 744 00:37:54,119 --> 00:37:54,800 will always. 745 00:37:54,519 --> 00:37:56,400 Speaker 8: Make sure everything we do is recorded. 746 00:37:56,400 --> 00:37:57,800 Speaker 6: I hear it from him if I turn off that 747 00:37:57,840 --> 00:37:59,880 mic for ten seconds. I hear about it the next game, 748 00:38:00,800 --> 00:38:02,360 but then allows us to go back through and go, oh, 749 00:38:02,360 --> 00:38:02,920 that really worked. 750 00:38:02,920 --> 00:38:04,760 Speaker 2: Oh we could piece these together. Hey, let's work on 751 00:38:04,800 --> 00:38:06,199 developing this one a little bit more. 752 00:38:06,559 --> 00:38:08,639 Speaker 6: And you make progress in a really, you know, much 753 00:38:08,719 --> 00:38:10,679 quicker fashion than if you just try to you know, 754 00:38:10,760 --> 00:38:12,760 go in and hammer it out over over five to 755 00:38:12,840 --> 00:38:15,360 six hours, right, just kind of organically, let it build, 756 00:38:15,400 --> 00:38:17,480 come back to it each week and see what see 757 00:38:17,519 --> 00:38:18,920 what comes comes naturally too. 758 00:38:19,039 --> 00:38:21,679 Speaker 1: Yeah that makes sense. Yeah, No, that's great. That's that's 759 00:38:21,679 --> 00:38:24,719 really cool that you guys have that. Now, what's what's 760 00:38:24,800 --> 00:38:26,599 kind of the Are you playing a lot of shows? 761 00:38:26,880 --> 00:38:28,480 Have you been playing a lot of shows over the summer, 762 00:38:28,559 --> 00:38:29,039 or what's kind of. 763 00:38:29,000 --> 00:38:32,199 Speaker 5: Been Usually take a break in June July or really 764 00:38:32,239 --> 00:38:34,199 I think the end of June was our last show. 765 00:38:34,440 --> 00:38:38,280 Oh and then we usually take July off. Everybody's on vacation. 766 00:38:38,440 --> 00:38:42,320 It's a nightmare. Try to do all our booking in February, March, 767 00:38:42,360 --> 00:38:45,280 and April. Oh a year, oh really, and then we'll 768 00:38:45,400 --> 00:38:48,960 leave a couple of weekends open and some benefit or 769 00:38:49,039 --> 00:38:51,679 festival or something might come up. And we've done like last. 770 00:38:51,519 --> 00:38:54,920 Speaker 2: Year we had a wedding and I think I can 771 00:38:54,960 --> 00:38:57,360 show this. This is the Camp Paul poster. So yeah, 772 00:38:57,400 --> 00:38:57,960 yeah we do. 773 00:38:58,480 --> 00:39:02,039 Speaker 5: We do custom posters and stuf for special events. And 774 00:39:02,119 --> 00:39:06,519 these people wanted to have a jam wedding, isn't it, 775 00:39:06,559 --> 00:39:09,400 So they ended up hiring hiring us to play this 776 00:39:09,719 --> 00:39:10,639 wedding festival. 777 00:39:10,639 --> 00:39:12,480 Speaker 2: Feel did you draw it yourself? 778 00:39:12,480 --> 00:39:12,880 Speaker 6: But you. 779 00:39:14,400 --> 00:39:17,559 Speaker 5: Guys talking about AI, right, I don't have a graphic artist, 780 00:39:17,679 --> 00:39:19,920 so we end up using some AI and then I'm 781 00:39:19,960 --> 00:39:22,119 a little bit I'm dangerous with the graphic arts. So 782 00:39:22,159 --> 00:39:24,440 I'll get in there and I'll do I'll touch up 783 00:39:24,519 --> 00:39:26,519 and obviously make all of the the. 784 00:39:26,480 --> 00:39:27,519 Speaker 2: Wording and the lettering. 785 00:39:28,599 --> 00:39:29,639 Speaker 8: I really do like how that. 786 00:39:30,840 --> 00:39:33,199 Speaker 5: You can tell AI is amazing for drawing stuff, but 787 00:39:33,239 --> 00:39:36,519 it can't spell at all, Like it'll take me a 788 00:39:36,639 --> 00:39:38,800 hundred times to get it to spell this, even though 789 00:39:38,840 --> 00:39:40,760 I put it in quotes and tell it what to do. 790 00:39:41,559 --> 00:39:44,000 You know, obviously this is a Chris is an artist, right, 791 00:39:44,039 --> 00:39:47,679 so that we have this discussion all the time, you know, 792 00:39:47,760 --> 00:39:51,719 it is his art getting stolen and then if I 793 00:39:51,760 --> 00:39:54,559 ask it to paint a tar painting or something, is 794 00:39:54,559 --> 00:39:56,559 his art going to show up one day? On a poster. 795 00:39:57,400 --> 00:39:59,360 But yet for a band it we don't You don't know. 796 00:39:59,400 --> 00:40:01,880 We don't have any to put much towards this week. 797 00:40:02,079 --> 00:40:04,079 We have an expensive PA and we put everything we 798 00:40:04,159 --> 00:40:06,760 have in our time. But I can't hire a graphic 799 00:40:06,840 --> 00:40:10,360 artist at our small size forever doing Northlands or something 800 00:40:10,400 --> 00:40:12,280 we get picked for the side stage. Yeah, I'll hire 801 00:40:12,280 --> 00:40:15,920 somebody to actually draw a real poster. But AI has 802 00:40:15,960 --> 00:40:18,719 helped us out tremendously to get that promo out there. 803 00:40:18,840 --> 00:40:22,199 Speaker 3: Okay, oh cool, all right, No, no shame, man. I 804 00:40:22,239 --> 00:40:24,800 think that AI is great for stuff like that. It's perfect, 805 00:40:25,280 --> 00:40:28,079 you know, because you're not asking it to replace, you know, 806 00:40:28,239 --> 00:40:32,039 a great artist. You just want an awesome marketing image. 807 00:40:32,519 --> 00:40:35,039 That's what he is freaking great at exactly. 808 00:40:35,079 --> 00:40:39,960 Speaker 5: But who originally drew this, No, nobody, it's probably I 809 00:40:39,960 --> 00:40:40,320 don't know. 810 00:40:40,440 --> 00:40:41,559 Speaker 8: No, it's a composite, man. 811 00:40:41,639 --> 00:40:42,920 Speaker 2: So that's what I don't know if we know. 812 00:40:43,280 --> 00:40:45,440 Speaker 8: No it is. It's not just taken from somebody. 813 00:40:45,480 --> 00:40:49,039 Speaker 3: It's a composite that's been taken from many places. 814 00:40:48,639 --> 00:40:49,079 Speaker 2: I hope. 815 00:40:49,119 --> 00:40:53,559 Speaker 5: So that's the only thing that I worry about. 816 00:40:51,639 --> 00:40:55,159 Speaker 2: What it will take everything eventually. 817 00:40:55,639 --> 00:40:59,159 Speaker 3: Yeah, but here's the thing, It'll never be as creative 818 00:40:59,159 --> 00:41:00,079 as human beings out. 819 00:41:00,320 --> 00:41:02,960 Speaker 2: Right, right, Yeah, no, that's true, that's true. 820 00:41:03,039 --> 00:41:07,559 Speaker 3: You know, if it comes down to it taking my 821 00:41:07,760 --> 00:41:10,440 image and putting it on something, why does that bother me? 822 00:41:11,480 --> 00:41:15,000 Speaker 8: Because I think I'm owed something for that image? I 823 00:41:15,039 --> 00:41:18,639 personally don't feel that way. Yeah, that's business. That's not art. 824 00:41:18,840 --> 00:41:22,559 Speaker 3: That's what you do as a you know, for a job. 825 00:41:23,079 --> 00:41:26,159 I make images, But that's not really that's not great art. 826 00:41:26,159 --> 00:41:29,360 That's not pulling something from your soul. And AI doesn't 827 00:41:29,400 --> 00:41:32,000 have a soul to pull from, right, If anything, I 828 00:41:32,000 --> 00:41:33,760 wouldn't see it's not going to And what I would 829 00:41:33,760 --> 00:41:37,400 always see is that stuff's advertisement for my art. Like 830 00:41:37,440 --> 00:41:40,960 even people like putting their pictures of their paintings online 831 00:41:41,000 --> 00:41:44,440 and they put big copyright signs and stuff. Who cares, Right, 832 00:41:44,480 --> 00:41:46,519 that's somebody who wasn't going to see or buy your 833 00:41:46,599 --> 00:41:50,480 art anyway, And you're onto the next painting and you know, 834 00:41:50,559 --> 00:41:54,159 guess what, you've actually got free advertising? Right, I don't 835 00:41:54,159 --> 00:41:54,679 see a problem. 836 00:41:54,800 --> 00:41:57,599 Speaker 2: That's you're an artist too, so you know what I mean? 837 00:41:57,639 --> 00:42:00,440 Speaker 5: That means a lot, it does, Yeah, it does. I 838 00:42:00,519 --> 00:42:03,000 just don't want to steal anybody stuff. Yeah right right, 839 00:42:03,480 --> 00:42:04,920 I did plenty of that when I was a kid 840 00:42:04,960 --> 00:42:07,039 stealing from Microsoft and all all. 841 00:42:07,039 --> 00:42:10,079 Speaker 2: Those downloads, those games. Oh didn't we all? 842 00:42:11,800 --> 00:42:15,840 Speaker 1: Yeah, didn't we all? Well, so we are running out 843 00:42:15,840 --> 00:42:17,599 of time. I do want to make sure. So now 844 00:42:17,639 --> 00:42:19,599 do you have anything coming up? And we do. 845 00:42:19,639 --> 00:42:23,000 Speaker 5: We have two gigs next weekend. We're doing the rout 846 00:42:23,039 --> 00:42:26,559 and Bush Community Block Party in Westford, Massachusetts. 847 00:42:26,599 --> 00:42:26,920 Speaker 2: Okay. 848 00:42:27,159 --> 00:42:29,360 Speaker 5: That's kind of a public event for the folks, the 849 00:42:29,400 --> 00:42:32,039 fine folks of Westford, mass Okay. And that's a benefits 850 00:42:32,079 --> 00:42:34,039 show that we're going to help them do. And then 851 00:42:34,760 --> 00:42:38,400 we're playing the Tiki Bar at Nashoba Valley on the 852 00:42:38,400 --> 00:42:42,000 twenty third from eight to eleven. And then we are 853 00:42:42,119 --> 00:42:44,559 the next show after that, I believe is Pinucci's on 854 00:42:44,599 --> 00:42:48,000 September fourteenth, excellent, and that's on the deck right downtown, 855 00:42:48,039 --> 00:42:49,400 which is going to be a fun show. 856 00:42:49,719 --> 00:42:50,000 Speaker 9: Yeah. 857 00:42:50,039 --> 00:42:51,199 Speaker 2: I play a lot of Grateful Day. 858 00:42:51,239 --> 00:42:56,519 Speaker 4: We got a Manchester cuts concered, cockered, we do, yeah. 859 00:42:56,519 --> 00:42:58,360 Speaker 5: H the Old Thursday's Underground Music Stage. 860 00:42:58,400 --> 00:43:00,639 Speaker 2: It used to be a Manchester one yea. 861 00:43:00,800 --> 00:43:03,760 Speaker 5: And then we're also playing Old Home Days in Hollis 862 00:43:03,960 --> 00:43:08,000 on September twentieth, and then I think October tenth we're 863 00:43:08,000 --> 00:43:10,639 doing a private party in Milford October eleventh. We're playing 864 00:43:10,639 --> 00:43:13,760 Milford Pumpkin Fest along with you know, Fox and the Flamingo, Yeah, 865 00:43:13,800 --> 00:43:16,000 and all these other bands that are local out of 866 00:43:16,000 --> 00:43:19,800 the area. Cosmic Blossom, I think is also playing excellent. 867 00:43:19,840 --> 00:43:23,519 It's just a great lineup that weekend of really good music. 868 00:43:24,599 --> 00:43:24,840 Speaker 2: Yeah. 869 00:43:25,119 --> 00:43:27,199 Speaker 5: And then I think Old Home Days that one good 870 00:43:27,239 --> 00:43:29,719 Thing Took Me Down. That's the release date for that song. 871 00:43:29,760 --> 00:43:32,760 Speaker 2: It's perfect. It's kind of going to be your release party. Yeah. 872 00:43:32,760 --> 00:43:35,000 Speaker 5: And there'll be a couple thousand people in the field, 873 00:43:35,079 --> 00:43:38,480 and we're getting the sound professionally, professionally produced by AE Events, 874 00:43:38,840 --> 00:43:40,280 so that's great. We don't have to lug our pa. 875 00:43:40,400 --> 00:43:42,480 We'll have a professional stage, professional sound. 876 00:43:43,000 --> 00:43:49,400 Speaker 2: Yeah. But I was here here right. Yeah, we appreciate it. 877 00:43:49,480 --> 00:43:51,480 Speaker 5: And again we appreciate everybody that's kind of given us 878 00:43:51,519 --> 00:43:53,800 the support, and Pete for helping us get to that 879 00:43:53,840 --> 00:43:56,440 next level, andres and Big Bear for giving us a 880 00:43:56,480 --> 00:43:59,400 little opportunity as well, and for you right for having 881 00:43:59,480 --> 00:43:59,719 us in. 882 00:44:00,039 --> 00:44:02,880 Speaker 2: Oh, hey, wonderful. We're honored, happy to do it. 883 00:44:02,880 --> 00:44:04,599 Speaker 1: It's great to meet you guys, and I love what 884 00:44:04,639 --> 00:44:06,599 you're doing so absolutely so much. 885 00:44:06,719 --> 00:44:07,199 Speaker 2: Absolutely. 886 00:44:07,280 --> 00:44:09,000 Speaker 5: We'll keep you informed with any new releases we have. 887 00:44:09,039 --> 00:44:10,760 They're coming out soon. We got two more in the works, 888 00:44:10,760 --> 00:44:13,119 so you do, Okayeah, So we'll be releasing two more 889 00:44:13,119 --> 00:44:14,320 probably in the next few weeks. 890 00:44:14,400 --> 00:44:16,079 Speaker 2: Oh wonderful. Yeah, send them to us. 891 00:44:16,119 --> 00:44:17,880 Speaker 1: We'll play well, we definitely will. We'll give them the 892 00:44:17,880 --> 00:44:21,559 world radio premiere treatment. Awesome, absolutely, one hundred percent. One 893 00:44:21,559 --> 00:44:23,239 other thing, where's the best place for people to go 894 00:44:23,320 --> 00:44:25,320 online keep up with everything that you're doing. 895 00:44:25,400 --> 00:44:28,440 Speaker 5: You go to jamdemic dot com, okay, and that's pretty 896 00:44:28,519 --> 00:44:30,800 much the hub of all of our stuff. We'll be 897 00:44:30,840 --> 00:44:33,400 doing a new website for that pretty soon because now 898 00:44:33,400 --> 00:44:35,559 that we're out there on the streaming. 899 00:44:35,159 --> 00:44:37,719 Speaker 2: Web, we've got to really re. 900 00:44:36,960 --> 00:44:40,000 Speaker 5: Rethink everything with these you know, the radio shows and 901 00:44:40,039 --> 00:44:41,800 the radio event the other day. 902 00:44:42,119 --> 00:44:43,679 Speaker 2: There's a lot of new stuff that we've got to 903 00:44:43,719 --> 00:44:44,719 put up there. Yeah. 904 00:44:45,039 --> 00:44:47,840 Speaker 8: Of course, we do have a pretty active Facebook page though. 905 00:44:47,719 --> 00:44:49,320 Speaker 2: We do, and we're on Instagram. 906 00:44:49,559 --> 00:44:53,400 Speaker 5: We're on band camp and jam base and bands in 907 00:44:53,519 --> 00:44:56,719 Town pretty much everywhere. Yeah, you know, you got to 908 00:44:56,800 --> 00:44:58,199 keep up on all that stuff. 909 00:44:57,920 --> 00:45:00,480 Speaker 2: That's right. Yeah, it's a lot to keep up with, Yeah, 910 00:45:00,519 --> 00:45:03,039 but yeah, you gotta do it. You got to It's 911 00:45:03,119 --> 00:45:04,239 part of the deal. 912 00:45:04,239 --> 00:45:05,760 Speaker 5: If you want to grow and you want to get 913 00:45:05,760 --> 00:45:08,000 better gigs, and you want to market yourself, you've got 914 00:45:08,039 --> 00:45:10,239 to market it. And I think that's that's something that 915 00:45:10,239 --> 00:45:12,719 I'm starting to get into helping other bands out with 916 00:45:12,719 --> 00:45:18,039 my digital marketing experience. Yeah, and seeing how we've grown this. Yeah, 917 00:45:18,119 --> 00:45:20,280 there's a lot of opportunity for me to help other 918 00:45:20,320 --> 00:45:22,239 bands that just don't have a guy in the band 919 00:45:22,239 --> 00:45:24,920 that can do this right, So I encourage them to 920 00:45:24,960 --> 00:45:26,960 reach out to me. I'm more happy to guide them 921 00:45:27,000 --> 00:45:29,519 and give them some free advice or hook them up 922 00:45:29,519 --> 00:45:31,320 with an invoice if they want me to help them out. 923 00:45:31,360 --> 00:45:34,440 Speaker 8: Yeah, seriously, it's it's makes all the difference. You know. 924 00:45:34,480 --> 00:45:35,880 We've come very far. 925 00:45:36,000 --> 00:45:39,480 Speaker 3: We feel in three years, you know, yeah, or three 926 00:45:39,480 --> 00:45:42,239 to five years, you know that we never expected. And 927 00:45:42,280 --> 00:45:47,039 a lot of it's Eric's talent and dedication to getting 928 00:45:47,039 --> 00:45:49,519 the word out and to collaboration. He's kind of a 929 00:45:49,559 --> 00:45:51,800 collaborative marketer. He doesn't try to shove anything down your throat, 930 00:45:51,840 --> 00:45:54,519 but he finds the sweet spot where everybody benefits. 931 00:45:54,599 --> 00:45:54,800 Speaker 2: Yeah. 932 00:45:54,880 --> 00:45:59,880 Speaker 1: That's good, worth, excellent, excellent, Well guys, thank you so much, 933 00:46:00,360 --> 00:46:02,679 jam Demiic This has been wonderful and we'll definitely do 934 00:46:02,719 --> 00:46:04,920 this again in the future. And like I said, you know, 935 00:46:05,000 --> 00:46:06,840 send us your music as you got and we'll play it. 936 00:46:06,920 --> 00:46:09,559 Speaker 2: Thanks Matt, thanks Jen, thank you and