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Speaker 1: Welcome back, everybody. This is Matt Bonnard.

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Speaker 2: The Novels.

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Speaker 1: We are live from the studios of WMNH on this

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Saturday morning, February twenty second, twenty twenty five. You know, Jenny,

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it's kind of funny. We were talking earlier about Kendrick

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Lamar in the track not Like Us. We got a

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American radio premiere for a track called not the Same,

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and this is UK artist John Denton. John Denton's going

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to be joining us soon on the show, so we're

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going to play this. This is the first time. He's

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already making waves in the UK, but this is the

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first time this track has ever been played on American radio.

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This is the American radio premiere of the new John

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Denton track. This is called not the Same.

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Speaker 3: That's a place where.

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Speaker 4: The bottles are down, and then that's me.

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Speaker 5: I'm from all of the site. People try to remoud

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you how we're so lok go for water and all

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our food.

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Speaker 6: Every day.

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Speaker 5: People fall abut the.

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Speaker 3: Well see it all the time.

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Speaker 5: But I don't care. I don't care.

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Speaker 7: I don't care what I'll say because I'll do it

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in my own work. I've nice people on the street.

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Speaker 8: Sir, night you jill you to.

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Speaker 7: I'm not al right down on the on the side.

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We're all down and out. Oh everywhere the people said,

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why oh why should I really check your this? Jo

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Stover say that's a place where the storm goes down,

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and don't go.

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Speaker 4: Well, I won't know where we're at, but I'll.

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Speaker 3: Be fine in my mind trying to make.

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Speaker 9: All those word right.

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Speaker 7: Ignore it on the outside once again.

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Speaker 10: Me and I'll be in the back.

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Speaker 4: Of her, just messing up about doing what I dont.

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Speaker 5: I'm ask befu on the streets, and I kill used

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to go home. I'm not a right down on the

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other side of the folly.

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Speaker 7: Oh that ring where we got you guys. But while

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should I really check your this? Joe stop say.

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Speaker 4: Last people in the STA said that killed us to go.

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Speaker 7: Down on the other side with folly.

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Speaker 6: We got chilled, so really kick kouss.

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Speaker 4: Juice snop sa.

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Speaker 6: Me me at the boardwalk over on Main Street. We

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can walk downtown. Let's see who we may.

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Speaker 9: Sitting in the summertime.

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Speaker 3: On a local brew or class.

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Speaker 6: Su high Now like a summer night in Maine, Just

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another summer night in Maine, Just another summer night in May,

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just another summer night in May. Yeah, just another summer

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night and May. We can't sit back campire that we

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made on the beach with a night like this. Nothing's

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out of reach from the forest to the ocean, and

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never seems the same. Nothing like summer night in May.

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Just another summer night in May. Just another summer night

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in May, Just another summer night in May.

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Speaker 11: There is nothing like summer night in May, Kay, summer.

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Speaker 3: Night May.

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Speaker 5: Bad.

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Speaker 1: That is cool. Welcome back, everybody. We are well in

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our number two New Marrow dose of Matt Connorton Unleashed

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and we are live from the studios of WMNH ninety

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five point three FM, Inglorious, Manchester, New Hampshire. Of course,

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you can also stream the show online for all your

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streaming options, just go to Matt connorton dot com slash

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live to find out how you can stream and interact

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with the show. And of course if you are in Manchester,

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New Hampshire, you can listen on your FM dial go

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to ninety five point three FM. Today is Saturday, February

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twenty two, twenty twenty five. Jenny is here of course

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at the news table, present account of and let's see

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let me get those mics up here. We have joined

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us live in studio. The man who performed that song

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by the way, another summer night in Maine, which is

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very very new. Sean Manchester is here with us. We'll

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test these mics out. How you doing, Sean, Yes, thank

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you for having me. I can barely hear you, which

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is why I need to turn this up.

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Speaker 12: Check check.

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Speaker 9: Oh there there we go.

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Speaker 12: Yes, thank you for having me. I'm excited to be here.

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Speaker 1: Yeah. I love by the way. So that song we

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played it during the first hour, Broke Man's Dream. Yeah,

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that was the first song of yours that I listened

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to and I just love it. That is that is

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so cool. And uh, let me put the camera on

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you for those watching online. Oh, actually, before we go

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any further, let me put the camera back on me

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for a second, because I want to show people for

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those watching live, if you're watching on YouTube or Facebook

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or LinkedIn or wherever. So, Sean, you brought us. Now

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people will often bring us CDs and stuff like that.

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You brought us. So these little, these little bags, I'm

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gonna hold this up on camera.

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Speaker 13: Yeah, little grab bag, little Sean manch grab bag. My

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last name is Manchester, but yeah, you know.

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Speaker 12: For stage purposes, it's easier for people to.

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Speaker 14: Chant Sean Manch, Seawan Manchin. That makes Sewan Manchi. Yeah,

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that makes sense. And in this so this is a

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cool concept. You've got a USB drive with your album. Yes,

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which is that song Another Summer Night in Maine. That's

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where that that's where we pull that from. Yep, So

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thank you for bringing that.

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Speaker 13: And you get a little a little glow in the

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dark three D printed Sean Manch key chain exactly. Yeah,

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and that's actually a pick as well, say, very cool printed.

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Speaker 12: Oh glow in the dark.

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Speaker 1: Oh outstanding, yup, got a pick in there, a little

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custom grab bag yeah, very cool, very cool, and and

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also a sticker which is nice. Jenny loves stickers, so

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as you can see from the per computer, definitely, so

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you brought one for each of us. So thank you

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very much, John, very welcome. That is that is very cool.

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And I love that song broke Man's Stream and uh

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you are I'm dying to hear you play live. You

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want to strum that guitar a little for me and

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we'll see, uh see see. Oh yeah that sounds nice, perfect,

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that sounds nice. Pull that pull those other mics up

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a little bit, make sure we got the cahone.

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Speaker 13: Yeah, playing the drums with my feet while singing and

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playing makes a nice full arrange.

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Speaker 12: I like to have that little bit of rhythm with it.

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Speaker 1: You are a one man band, Yeah, that's that's for sure.

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Is it difficult to learn to do that? Or does

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that come naturally? Because most people tap their foot anyway

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when listening to music, So does that just kind of.

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Speaker 13: That definitely helps you know a lot of times, if

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I'm just practicing without any drums or anything, just tapping

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my feet and I was I thought that was just

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a natural way to keep time. Might as well add

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some drums underneath the tappen and see how it goes.

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Speaker 1: Yeah, yeah, no, that makes sense. That makes sense.

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Speaker 13: I'm left handed, although I play a right handed guitar,

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So yeah, the ambidexterousness I'm sure helps with that independence instrument.

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Speaker 12: Yeah.

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Speaker 1: I have a theory that we're all ambidextrous. We just

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don't know it. Because you learn to play a musical instrument,

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you're using both your hands.

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Speaker 13: You are exactly exactly Yeah, sometimes your feet.

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Speaker 1: Yeah exactly right, exactly. Yeah, especially like if you're a drummer,

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you're using all four of your limbs and doing some

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complex stuff and that.

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Speaker 13: That helps you because I play, you know, piano, drums, bass,

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the instrumentalist as well. That's what helps me record the

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full band sound with a lot of those songs.

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Speaker 1: Oh okay, So on your studio tracks, is it all you?

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Speaker 12: Yeah?

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Speaker 13: All me playing all my writing and nice all self

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recorded and produced in my little shack and mane.

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Speaker 1: Oh, that's fantastic, that's fantastic. Uh, what are you gonna

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play for us?

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Speaker 13: I'll start out with Broke Man's stream awesome.

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Speaker 1: I love this song. Thank you, I love the song.

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If you're just joining us, Sean Manchester is here with

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us live in studio, A.

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Speaker 6: Cat, sixteen bucks, gotta make it to Friday, trying to

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do right?

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Speaker 9: He going my way? Money suit tie?

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Speaker 2: What can't I say?

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Speaker 6: I'm living on Brooke Man's dreams, run on gas and

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no won't last.

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Speaker 9: A couple of gowns.

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Speaker 2: Cat through the week, keep my head.

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Speaker 9: And I anatn't knowing why when the fire's a running

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down on me.

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Speaker 6: I got sixteen bucks, gotta make it to Friday.

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Speaker 9: And trying to do a righth ain't going my way?

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Speaker 6: Money suit tight What can't I say, I'm living on

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a broke man sixteen bucks and I'm making to Friday,

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trying to.

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Speaker 15: Do a right?

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Speaker 9: Ain't going my way? Money so tight?

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Speaker 3: What gen I say?

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Speaker 6: I'm living on a broke man's dreams? Now I find

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the sea that it ain't just a dream, making it

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half him today? Now keep on knowing and okay, moving

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shaw till it can finally say I half sixteen bucks

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and I made it to Friday. I finally do the righth.

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It went my way. Money's so tight?

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Speaker 2: What can I say? I'm living a broke.

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Speaker 6: Man's dream I've lived everything in between. You got sixteen bucks,

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gotta make it to Friday, trying to do right? Ain't

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doing my way? Money so tight? What can't I say?

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I'm living on a broad man sixteen bucks? Would have

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made it to Friday and finally did a right?

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Speaker 9: It went my way? Money's not tight?

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Speaker 6: What can't I say? I'm living a broad man's dreams

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and now I've lived everything in between?

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Speaker 1: Oh I do love that song.

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Speaker 9: That was awful.

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Speaker 1: I do love that song. If you're just what we do,

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absolutely absolutely, if you're just joining us, Sean Manchester is

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here with us live in studio on this Saturday morning,

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and Sean, where are you from?

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Speaker 16: So?

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Speaker 12: Originally Massachusetts, Attleborough?

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Speaker 13: Okay, you know I have family that's still lives down there,

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but I currently live up in Clinton, Maine.

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Speaker 1: Is it must be cold there, imagine?

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Speaker 12: Oh yeah, tongues of snow these past couple of weeks.

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But yeah, springs right around the corner.

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Speaker 13: I mentioned to get into some of the springtime gardening

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and all that. I live off grid in a little

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tiny house, you know, all solar Oh, no kidding, Yeah,

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because on main Street, which is convenient. I can walk

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to everything I need if I need to, no kidding,

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but enough in the woods that I have the privacy,

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you know. Yeah, it's a good balance of that.

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Speaker 1: Oh that's really cool. Are you Are you a minimalist?

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Speaker 12: Yeah, I like, you know, to not keep it not

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very materialistic, you know.

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Speaker 1: Yeah. I admire that a lot. That's that's very cool.

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I mean life is simpler that way, right.

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Speaker 13: Exactly, as long as I can go outside and enjoy

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the sun and a hammock and have a campfire, yeah, guitar,

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a couple of friends.

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Speaker 12: Yeah, yeah, that's the beauty of life right there.

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Speaker 1: What's what's the scene like there as far as are

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there a lot of places where you live to play.

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Speaker 13: Or yeah, it's uh, you know, I did the cover

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for a long time in the local bar kind of gigs,

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and there's a lot of local breweries and yeah, you know,

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so if you're trying to find somewhere to play, you

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might have to travel a half an hour in pretty

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much any direction.

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Speaker 12: But you know, you can normally find a decent amount

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of gigs.

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Speaker 7: Yeah.

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Speaker 13: I'm focusing a lot on the original songs now, okay,

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and I'm gonna move more.

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Speaker 12: Towards running my own shows.

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Speaker 13: You know, rent a venue out and then do the

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promotion and that sort of thing more on my own.

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Speaker 1: Oh excellent, excellent. Do you do some of that now.

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Speaker 13: Or just starting out? I've done it in the past,

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just as kind of trial and or you know, half covers,

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half originals and see who shows up and it turned

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out pretty decent and hoping you know, the grab bags

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they'll sweepen the deals. Yeah, the first ten people that come,

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you know, get a gift bag or you know something

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like that.

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Speaker 12: Yeah, and they'll be free shows. I'm just in it

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for the music.

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Speaker 1: So gotcha, gotcha? Yeah, So you do everything so on

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the studio tracks, you do everything yourself.

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Speaker 12: Yep.

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Speaker 13: When all the mixing, mastering, no connuction. I use evis

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online called Lander and that so I'm on Spotify. It

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pushes it out to all Spotify, Apple Music, Facebook, all

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that stuff.

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Speaker 1: So okay, excellent. Some musicians hate having to do that part,

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but you know the but you sound like you embrace it.

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Speaker 12: Well.

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Speaker 13: I way back when I was younger, I was a programmer,

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you know, web developer, that kind of thing.

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Speaker 12: So I have a decent tech background.

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Speaker 13: Yeah, and you know the arts c side, so I

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kind of just use what I've learned from that in

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business marketing and things, you know, and there you go,

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added it to the music to you know, enhance the

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hobby and just make it.

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Speaker 12: Go a little bit further. It helps, Yeah, oh, I mean,

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and I definitely enjoy it.

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Speaker 1: Yeah, yeah, I mean it sounds like more than a hobby.

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I mean, you know, it's definitely a passion. Yeah, and

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you're accomplishing a lot with it, so that's great.

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Speaker 14: Yeah.

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Speaker 13: It keeps me busy too, you know, always always something

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to work on. And yep, then when you finish a

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song or a video, it feels like you've gotten something done.

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Speaker 1: Yeah, yeah, broke band stream is that? Is that based

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on real life experience because it's it's very relatable.

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Speaker 13: Yeah, well, I'm sure everyone can relate, you know, trying

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to get to that Friday sixteen bucks in the account

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and trying to make it there.

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Speaker 1: Yeah.

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Speaker 13: Yeah, you know, starting out saving up for the land,

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and had had an old van down by the river,

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nice you know, nineteen eighty two Chevy G twenty conversion van,

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so I had everything, but yeah, my job paid for

284
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you know a lot rent, so lot rent.

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Speaker 12: It was a parking.

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Speaker 13: Spot, you know, the van there, and started out from

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there walking around to bars with my guitar and can

288
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I play a couple songs and put a tip jar out?

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Speaker 12: And from there blossomed into all of this fun stuff

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going on now.

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Speaker 1: So yeah, yeah, have you how long have you been

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really focused on that part the music career?

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Speaker 12: Probably about the last four four or five years.

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Speaker 13: Yeah, say about that. You know, I have kids, so yeah,

295
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spent a lot of time working on that. You know,

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kids when they were younger, you know, take a little

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bit more, yeah, changing diapers now that they're a little

298
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bit more self sustaining, a little bit of time for

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me yeah.

300
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Speaker 1: Is it like living in a tiny house? Is that

301
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a big adjustment or did that come naturally?

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Speaker 13: I love it, you know, I have plenty of space, especially,

303
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I mean the one that I built now has plenty

304
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of space. The first couple of tiny houses, you know,

305
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not a builder.

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Speaker 1: Oh so it's not your first one, yeah, exactly.

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Speaker 13: This one actually turned out really nice, you know. Okay,

308
00:18:26,759 --> 00:18:29,119
it was a learning curve, the first couple of tiny houses,

309
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trying to figure out how to build. I'm a musician,

310
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not a carpenter, so yeah, but this one.

311
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Speaker 12: Yeah, it's so.

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Speaker 1: You built these?

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Speaker 12: Oh yeah, yeah, wow.

314
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Speaker 13: And I prefer it, you know, the tiny living, less

315
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space to heat. Yeah, everything has a place.

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Speaker 1: Ye so yeah, oh very cool.

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Speaker 12: I enjoyed it, well yeah yeah yeah.

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Speaker 1: How do the kids feel about it?

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Speaker 13: They love it?

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Speaker 1: Yeah.

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Speaker 13: Well I got a frog pond too, so as long

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as you can go outside and catch frogs in the

323
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spring and summer, they love it.

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Speaker 1: Oh that's really cool. That's really cool. Do you want

325
00:19:00,319 --> 00:19:01,000
to play another one?

326
00:19:01,039 --> 00:19:01,240
Speaker 12: Yeah?

327
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Speaker 1: I'm dying to hear more. If you're just joining us.

328
00:19:03,200 --> 00:19:05,480
Sean Manchester is here with us, live in studio and

329
00:19:05,559 --> 00:19:08,079
traveled quite far bit of a hall.

330
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Speaker 12: Yeah, It was.

331
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Speaker 13: About two and a half hours. Just a nice drive though,

332
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watching the sun come up.

333
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Speaker 1: Yeah, trees, Yeah, cute little city here too, Yeah, oh,

334
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thank you, thank you.

335
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Speaker 12: Wandered around for a little bit, driving and seeing all

336
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the sights.

337
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Speaker 13: Nice architects, a lot, a lot of mill buildings.

338
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Speaker 12: Yep. This next song, the wind between us, I'll play

339
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that one.

340
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Speaker 1: Oh, very cool, very cool. We have Sean Manchester here

341
00:19:31,000 --> 00:19:33,720
with us, live in studio on this Saturday morning.

342
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Speaker 12: You're on the program, and I do this one, just acoustic.

343
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Speaker 17: Okay.

344
00:19:55,480 --> 00:19:58,079
Speaker 9: I've seen the wind take it all the way, never

345
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had a.

346
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Speaker 6: Chance reason to stay, this envisible steam.

347
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Speaker 2: I hear the whisper of the.

348
00:20:06,240 --> 00:20:09,839
Speaker 9: Wind through the years distance, like Raleigh's fears.

349
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Speaker 2: I wish we could stay.

350
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Speaker 6: Toom left. The wind never come between us.

351
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Speaker 2: We will never be same.

352
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Speaker 5: Thing.

353
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Speaker 6: Through your heart and tone for copy to writhe the.

354
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Speaker 9: Winds of change.

355
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Speaker 6: And Dick, it's hard to matter what You gotta find

356
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the key to a tour like shut through away the us.

357
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Come for a minute, come for today, but don't come

358
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for long. Don't go to stay. Can't you hear me say?

359
00:21:11,759 --> 00:21:15,920
Doom Let no wind never come between us?

360
00:21:17,079 --> 00:21:19,400
Speaker 9: We will never be same.

361
00:21:21,319 --> 00:21:25,799
Speaker 6: Through your heart and don't forget.

362
00:21:25,079 --> 00:21:30,359
Speaker 9: Me do right though winds of.

363
00:21:30,799 --> 00:21:51,119
Speaker 18: Change, I've seen the one who take it away.

364
00:21:51,359 --> 00:21:52,519
Speaker 9: I've never had a change.

365
00:21:52,640 --> 00:21:58,359
Speaker 6: Reason to say it decent isn't stay.

366
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Speaker 9: Doom.

367
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Speaker 6: Let the wind never come between us.

368
00:22:04,119 --> 00:22:06,279
Speaker 3: Will never beat seen.

369
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Speaker 6: Thing real hard and too for Cavy too, Rato wins.

370
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Speaker 3: Love change.

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Speaker 1: Hm, I love it. I love it. Sean Manchester here

372
00:22:25,279 --> 00:22:28,279
with us live in studio. Yeah, I love your voice.

373
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Did how did you learn to singer? You self taught

374
00:22:30,359 --> 00:22:31,839
or did you take lessons.

375
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Speaker 12: Or just all self taught?

376
00:22:33,200 --> 00:22:36,160
Speaker 13: I mean, I think the earliest was when I was

377
00:22:36,200 --> 00:22:40,200
three years old, singing Run Joey Run and Billy Don't

378
00:22:40,200 --> 00:22:42,640
be a Heroes. Oh really, my mom had you know,

379
00:22:42,759 --> 00:22:46,960
some home tapes, you know, yeah, Marching Ben came down

380
00:22:47,119 --> 00:22:53,960
along Main Street. Yeah, early nineties or late eighties, Okay, okay, yeah,

381
00:22:54,000 --> 00:22:56,400
But then you know, really took it on, you know,

382
00:22:56,440 --> 00:23:00,000
in high school when I was probably seventeen Stary plays

383
00:23:00,079 --> 00:23:02,400
and then a couple of Battle.

384
00:23:02,119 --> 00:23:04,039
Speaker 12: Of the Bands and when those went.

385
00:23:03,960 --> 00:23:07,599
Speaker 13: To Belfast Area High School okay, yeah, in Maine, and yeah,

386
00:23:07,640 --> 00:23:09,839
so took it off from there though. I once I

387
00:23:09,960 --> 00:23:12,359
got on stage for the first time doing that it

388
00:23:12,440 --> 00:23:15,160
was all over from there, couldn't stay away.

389
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Speaker 1: Do you do you ever? Have you ever played with

390
00:23:17,440 --> 00:23:19,440
a band or has it always been a solo acoustic thing.

391
00:23:19,559 --> 00:23:22,720
Speaker 13: Yeah, I've done a lot, you know, jammed with different friends,

392
00:23:22,759 --> 00:23:24,720
had cover bands and stuff like that. And I do

393
00:23:25,119 --> 00:23:28,279
intend on getting a bassist and a drummer eventually, Okay,

394
00:23:28,319 --> 00:23:31,599
just probably sometime this summer kind of work on that.

395
00:23:31,759 --> 00:23:33,480
Speaker 12: Oh okay, I've been doing the solo thing though a

396
00:23:33,480 --> 00:23:35,960
couple of years. Yeah, a little bit easier logistically.

397
00:23:36,160 --> 00:23:38,079
Speaker 1: Oh yeah, you don't have to check with anybody about

398
00:23:38,079 --> 00:23:41,000
their schedule if you had live shows to play exactly,

399
00:23:41,079 --> 00:23:44,680
all that kind of stuff. Yeah, yeah, you probably You

400
00:23:44,680 --> 00:23:46,599
strike me as someone who's probably always writing.

401
00:23:47,119 --> 00:23:49,319
Speaker 12: You have a lot of songs that you've written exactly.

402
00:23:49,400 --> 00:23:49,559
Speaker 19: Yeah.

403
00:23:49,599 --> 00:23:51,480
Speaker 13: I have a lot of stuff that I've recorded.

404
00:23:51,519 --> 00:23:51,680
Speaker 20: You know.

405
00:23:51,720 --> 00:23:53,839
Speaker 13: I like to just get it out of my mind

406
00:23:53,920 --> 00:23:55,799
and get it all recorded so I have at least

407
00:23:55,799 --> 00:23:58,559
some kind of demo and then I can come back

408
00:23:58,559 --> 00:24:00,799
to it, tear the song apart, and you know, figure

409
00:24:00,839 --> 00:24:01,640
out how I wrote it.

410
00:24:01,880 --> 00:24:02,160
Speaker 1: Yeah.

411
00:24:02,240 --> 00:24:05,119
Speaker 13: Yeah, So I'm always writing and picking and choosing what

412
00:24:05,200 --> 00:24:07,720
I want to you know, publish, and what might need

413
00:24:07,759 --> 00:24:08,880
a little bit more time.

414
00:24:09,079 --> 00:24:11,000
Speaker 1: Doing all the mixing and mastering and everything. If you've

415
00:24:11,039 --> 00:24:13,039
done it that way from the beginning, like all doing

416
00:24:13,079 --> 00:24:14,640
all of it yourself. Yeah, that's awesome.

417
00:24:14,720 --> 00:24:16,319
Speaker 12: Yeah, that's awesome. Yeah. I enjoy it.

418
00:24:16,359 --> 00:24:20,359
Speaker 13: And it's come a long way, that's for sure. I

419
00:24:20,400 --> 00:24:23,200
listened to some of the stuff even just five years ago,

420
00:24:23,759 --> 00:24:26,480
and I can tell it's come along really.

421
00:24:26,559 --> 00:24:26,799
Speaker 1: Yeah.

422
00:24:27,359 --> 00:24:29,720
Speaker 13: Someday maybe I'll release it as like a gag track

423
00:24:29,839 --> 00:24:30,240
or something.

424
00:24:30,319 --> 00:24:32,759
Speaker 1: Yea, here see you.

425
00:24:32,720 --> 00:24:34,079
Speaker 13: Know it takes time to get there.

426
00:24:35,000 --> 00:24:36,559
Speaker 1: Do you remember the first song you ever wrote?

427
00:24:38,519 --> 00:24:43,079
Speaker 13: Actually, yeah, so I had started. Must have been like

428
00:24:43,119 --> 00:24:46,880
sixteen or seventeen. Yeah, yeah, I don't play it because

429
00:24:46,960 --> 00:24:49,720
it's so this is again something.

430
00:24:49,480 --> 00:24:55,200
Speaker 12: People haven't heard. Okay, I actually do remember it.

431
00:24:55,240 --> 00:24:57,599
Speaker 1: So oh okay, dreams.

432
00:24:57,680 --> 00:25:06,240
Speaker 6: Everything looks per it seems everything is word that now

433
00:25:06,440 --> 00:25:07,240
I see.

434
00:25:07,440 --> 00:25:08,640
Speaker 9: I'm the pain.

435
00:25:08,880 --> 00:25:14,880
Speaker 6: I'm causing a dream of you and my heart ist puson.

436
00:25:15,880 --> 00:25:23,680
I'm moving on with about you. I'm moving on because

437
00:25:23,799 --> 00:25:29,759
you're run true. I'm moving on through this dark blue

438
00:25:30,359 --> 00:25:36,000
called you, all right, I like seventeen sixteen seventeen, started

439
00:25:36,000 --> 00:25:36,640
playing the guitar.

440
00:25:36,680 --> 00:25:37,480
Speaker 13: That's why it's just.

441
00:25:38,039 --> 00:25:41,640
Speaker 1: I'm GC and D I like it though. That's good.

442
00:25:41,720 --> 00:25:43,039
Speaker 12: That's not a bad way to start write.

443
00:25:43,079 --> 00:25:44,599
Speaker 13: Not a bad song for a first song.

444
00:25:44,720 --> 00:25:47,640
Speaker 12: No, not, that's funny.

445
00:25:47,759 --> 00:25:49,359
Speaker 13: I haven't thought about that song in a while.

446
00:25:49,480 --> 00:25:54,440
Speaker 1: Oh really Yeah, yeah, no, I like it, I dig it. Yeah, yeah. Yeah.

447
00:25:54,359 --> 00:25:57,000
Who are some of your inspirations as far as songwriters

448
00:25:57,079 --> 00:25:58,759
and performers.

449
00:25:58,839 --> 00:26:01,079
Speaker 12: It's gotta be a lot of class rock. Yeah, I

450
00:26:01,160 --> 00:26:02,279
like classic rock a lot.

451
00:26:02,519 --> 00:26:06,000
Speaker 13: And then on the other side of things, I listened

452
00:26:06,039 --> 00:26:08,960
to a lot of like the Jason Maraz, John Mayer,

453
00:26:09,079 --> 00:26:13,359
you know, early two thousands kind of yeah, acoustic guys.

454
00:26:13,559 --> 00:26:15,319
Speaker 12: Yeah, so a lot of that.

455
00:26:15,519 --> 00:26:17,880
Speaker 13: But yeah, yeah, I'd say it's kind of a mix

456
00:26:17,880 --> 00:26:19,240
of that the classic rock, you know.

457
00:26:19,319 --> 00:26:21,279
Speaker 12: I like a lot of Led Zeppelin and yeah.

458
00:26:21,960 --> 00:26:26,920
Speaker 1: Yeah. Is there anyone who who inspires you in terms

459
00:26:26,960 --> 00:26:29,440
of because I love your voice, I mean, is there

460
00:26:29,440 --> 00:26:32,400
anyone you try to emulate vocally or or or who

461
00:26:32,440 --> 00:26:33,559
is uh influence?

462
00:26:33,640 --> 00:26:36,279
Speaker 13: I'd say that like you know, Rob Thomas, that's another one.

463
00:26:36,319 --> 00:26:38,559
A lot of like Matchbox twenty Yeah, you know those

464
00:26:38,640 --> 00:26:40,759
kind of songs. Yeah, a lot of influence from that

465
00:26:40,880 --> 00:26:43,119
kind of stuff too, like that soft rock.

466
00:26:43,440 --> 00:26:45,960
Speaker 1: Yeah. Yeah, but you've got there's a little bit of

467
00:26:45,960 --> 00:26:47,960
a rawness though that you have that a guy like

468
00:26:48,039 --> 00:26:50,440
Rob Thomas doesn't have. And I think that's what and

469
00:26:50,480 --> 00:26:52,000
I like that. I think that's why I like your

470
00:26:52,079 --> 00:26:54,720
voice so much. This, I don't know, there's a there's

471
00:26:54,759 --> 00:26:56,279
just a little bit of a there's a little bit

472
00:26:56,319 --> 00:26:57,599
of a rough edge to it that I that I

473
00:26:57,640 --> 00:26:58,200
really love.

474
00:26:58,079 --> 00:27:00,400
Speaker 13: That kind of that kind of crunch, which yeah, took

475
00:27:00,400 --> 00:27:01,799
a little bit to be able to get, you know,

476
00:27:01,920 --> 00:27:04,319
really a lot of clean singing, so I used to

477
00:27:04,359 --> 00:27:06,640
do that, you know, very clean and crisp, but I

478
00:27:06,880 --> 00:27:09,640
like that kind of little rasp or crunch, you know,

479
00:27:09,720 --> 00:27:12,559
compression vocals. It comes from the like you know, I

480
00:27:12,720 --> 00:27:14,799
want a rock you know, oh yeah, that kind of

481
00:27:14,799 --> 00:27:17,440
stuff when you actually push yeah, you know, so I

482
00:27:17,519 --> 00:27:19,119
like a lot of that, like heavy vocals.

483
00:27:19,119 --> 00:27:22,000
Speaker 1: So yeah, because for a song like broke Man's Dream

484
00:27:22,160 --> 00:27:25,799
that that really works well, yeah, that that vocal song

485
00:27:25,960 --> 00:27:27,839
like that, Yeah, it gives it a little little bit

486
00:27:27,839 --> 00:27:28,359
of that grit.

487
00:27:28,880 --> 00:27:31,000
Speaker 13: I'd say honestly, a lot of it does come from

488
00:27:31,400 --> 00:27:35,000
like Dio and that kind of like Holy.

489
00:27:34,759 --> 00:27:39,440
Speaker 6: Diver, yeah with the last in line, Yeah like that

490
00:27:39,599 --> 00:27:40,839
sort of Yeah.

491
00:27:40,880 --> 00:27:42,839
Speaker 1: Well, because if you can sing that stuff you can

492
00:27:42,880 --> 00:27:44,240
sing anything right exactly.

493
00:27:44,240 --> 00:27:46,960
Speaker 13: It makes it so I honestly have to like hold

494
00:27:47,039 --> 00:27:49,160
back from doing it too much when I play acoustic

495
00:27:49,240 --> 00:27:51,720
because I want to just go, you know, straight out

496
00:27:51,759 --> 00:27:52,039
with it.

497
00:27:52,079 --> 00:27:53,720
Speaker 1: But yeah, you don't want to blow your voice out

498
00:27:53,720 --> 00:27:56,400
of the process. Yeah that ever happened, like, especially with

499
00:27:56,720 --> 00:27:58,680
this has been such a brutal cold and flu season.

500
00:27:58,960 --> 00:28:01,319
You ever have that happened to where your voice goes

501
00:28:01,359 --> 00:28:02,519
during the show or starts to.

502
00:28:02,599 --> 00:28:04,759
Speaker 13: Yeah, definitely when I was doing the cover shows and

503
00:28:04,799 --> 00:28:08,000
playing you know, two or three shows a weekend. Yeah,

504
00:28:08,039 --> 00:28:12,920
by that ninth hour of singing, you know, in eighteen hours,

505
00:28:12,960 --> 00:28:17,960
it's like, huh, I need a throat laws and drinking

506
00:28:18,000 --> 00:28:20,519
honey straight from the jar just to soothe it all.

507
00:28:20,799 --> 00:28:24,599
Speaker 1: No doubt, no doubt. Is it challenging at all singing

508
00:28:24,640 --> 00:28:25,799
this early in the day.

509
00:28:26,240 --> 00:28:27,839
Speaker 13: You know, I thought about that on the way down.

510
00:28:27,880 --> 00:28:29,559
I was like, I never really sing in the morning.

511
00:28:29,720 --> 00:28:31,799
I mean, as long as I have some coffee to

512
00:28:32,200 --> 00:28:35,200
warm my voice up, it's normally not too bad. Yeah,

513
00:28:35,240 --> 00:28:36,720
that's for the listeners to decide.

514
00:28:36,759 --> 00:28:40,599
Speaker 1: I get right, No, you sound great. You want to

515
00:28:40,640 --> 00:28:41,200
play another one?

516
00:28:41,279 --> 00:28:42,240
Speaker 12: Yeah, definitely, I'll do.

517
00:28:44,000 --> 00:28:44,039
Speaker 21: Me.

518
00:28:45,279 --> 00:28:47,359
Speaker 13: I'll do one called tell me it's more of a

519
00:28:47,400 --> 00:28:48,359
softer song too.

520
00:28:48,599 --> 00:28:50,880
Speaker 1: All right, all right, Sean Manchester is here with us

521
00:28:50,880 --> 00:28:51,640
live in studio.

522
00:29:05,799 --> 00:29:09,279
Speaker 6: She said, tell me that you love me and I

523
00:29:09,279 --> 00:29:14,440
won't go. It's coming down in flames. Please love me, no,

524
00:29:15,599 --> 00:29:20,440
tell me it. Don't be too friend this time. Tell

525
00:29:20,480 --> 00:29:25,599
me it'll long turn out all right. And I said,

526
00:29:26,200 --> 00:29:28,720
dun't forgetbod I've told you.

527
00:29:30,680 --> 00:29:30,960
Speaker 9: Due.

528
00:29:31,200 --> 00:29:36,640
Speaker 6: Forget what I said through all of the years, in.

529
00:29:36,880 --> 00:29:38,720
Speaker 9: The tears, how we've dropped.

530
00:29:39,559 --> 00:29:41,440
Speaker 3: I will be there to me.

531
00:30:00,839 --> 00:30:02,039
Speaker 2: Tell me that your.

532
00:30:02,079 --> 00:30:08,039
Speaker 6: Love will never fade. Tell me that you always feel

533
00:30:08,319 --> 00:30:14,720
the same. Tell me that I'm crazy when may Tell

534
00:30:14,799 --> 00:30:19,759
me that you'll be there from me. And I said,

535
00:30:20,319 --> 00:30:26,559
don't forget what I told you to forget what I

536
00:30:26,920 --> 00:30:29,440
said through all of.

537
00:30:29,720 --> 00:30:32,000
Speaker 3: The hears, sound, the tears.

538
00:30:31,599 --> 00:30:32,599
Speaker 9: So we've jumped.

539
00:30:33,400 --> 00:30:35,799
Speaker 3: Now we will be there till the end.

540
00:30:55,880 --> 00:31:02,960
Speaker 6: Don't forget what I told you too, for Cat, I said,

541
00:31:04,359 --> 00:31:08,839
do all of it hears and the tears out, we've dropped.

542
00:31:09,640 --> 00:31:11,920
I will be there toov.

543
00:31:17,000 --> 00:31:20,519
Speaker 1: I love it. I love it. That's my favorite. Oh

544
00:31:20,559 --> 00:31:22,960
I love that. Yeah, that's really good. That's really good.

545
00:31:23,039 --> 00:31:23,440
Speaker 12: Thank you.

546
00:31:23,519 --> 00:31:26,039
Speaker 1: Sean Manchester is here with us live in studio on

547
00:31:26,079 --> 00:31:29,319
the Saturday, if you're just joining us sounding great. By

548
00:31:29,359 --> 00:31:31,839
the way, I'm envious of your your ability to whistle.

549
00:31:32,839 --> 00:31:33,160
Speaker 12: Thank you.

550
00:31:33,240 --> 00:31:35,680
Speaker 1: That's something I can't. I can't do, which I guess

551
00:31:35,799 --> 00:31:38,160
is unusual most people can't. I can't whistle well.

552
00:31:38,200 --> 00:31:40,599
Speaker 12: And it's useful too, you know, because I want to

553
00:31:40,599 --> 00:31:41,240
play some lead.

554
00:31:41,319 --> 00:31:44,720
Speaker 13: I want to just you know, yeah, play a couple

555
00:31:44,799 --> 00:31:47,000
of solos over stuff. But if I'm playing rhythm, I

556
00:31:47,000 --> 00:31:47,759
can't really do that.

557
00:31:47,880 --> 00:31:49,319
Speaker 1: So it kind of gives you an extra instrument.

558
00:31:49,440 --> 00:31:49,640
Speaker 12: Yeah.

559
00:31:49,640 --> 00:31:51,640
Speaker 13: I started to learn how to play harmonica and got

560
00:31:51,720 --> 00:31:52,640
some of that head gear.

561
00:31:52,880 --> 00:31:54,720
Speaker 12: Oh and it goes pretty good.

562
00:31:54,880 --> 00:31:57,759
Speaker 13: Yeah, I'm adding that to the whole Thing's just one

563
00:31:57,759 --> 00:31:58,400
more instrument.

564
00:31:58,559 --> 00:32:00,400
Speaker 1: Do you do that live? The harmonica with the head

565
00:32:00,400 --> 00:32:03,160
Gary do that? That always impresses me too, because it's

566
00:32:03,160 --> 00:32:05,519
like you're because then you're literally you're playing two instruments

567
00:32:05,599 --> 00:32:07,759
and actually if you're if you have the cone too, Yeah,

568
00:32:08,200 --> 00:32:10,799
you're playing three instruments at once. You're really a one

569
00:32:10,839 --> 00:32:11,319
man band.

570
00:32:11,319 --> 00:32:13,599
Speaker 13: At that point gets you get out of breath sometimes,

571
00:32:13,640 --> 00:32:15,400
you know, but it's worth it.

572
00:32:15,599 --> 00:32:17,880
Speaker 1: Yeah, I wonder about the harmonica if that does that

573
00:32:17,960 --> 00:32:20,200
kind of come naturally to some extent, because you are.

574
00:32:20,279 --> 00:32:23,119
It's kind of like singing right well sense, and they're using.

575
00:32:22,960 --> 00:32:26,000
Speaker 13: Your bractly and it's in key. Yeah, you know, harmonica,

576
00:32:26,039 --> 00:32:27,920
you can't really play a wrong note as long as

577
00:32:27,920 --> 00:32:30,799
you got the right harmonica for the song. Okay, okay,

578
00:32:30,839 --> 00:32:33,920
it's like you have to you have to carry around

579
00:32:33,960 --> 00:32:36,920
eight or you know, six or seven harmonicas. I didn't

580
00:32:36,960 --> 00:32:38,799
know that each one is a different key.

581
00:32:39,039 --> 00:32:39,720
Speaker 12: I didn't see.

582
00:32:39,720 --> 00:32:42,519
Speaker 1: I'm so ignorant about that. I never knew that. Yeah,

583
00:32:42,519 --> 00:32:45,480
so that makes sense though, now that I'm thinking about

584
00:32:45,519 --> 00:32:48,240
it logically, I'm surprised I didn't realize that, because that

585
00:32:48,240 --> 00:32:48,960
does make perfect.

586
00:32:48,960 --> 00:32:51,720
Speaker 13: So they do have like one hundred whole harmonicas, but

587
00:32:52,000 --> 00:32:56,160
do they impossible? Really, that's too much.

588
00:32:56,039 --> 00:32:57,920
Speaker 12: To think about doing all of it at once.

589
00:32:58,000 --> 00:33:00,799
Speaker 1: But yeah, oh that makes sense though, that makes sense.

590
00:33:00,880 --> 00:33:04,160
Speaker 13: Yeah. Yeah, I like to use a loop pedal a lot,

591
00:33:04,160 --> 00:33:08,519
where you know, just kind of the edge sheering sort

592
00:33:08,519 --> 00:33:11,079
of thing, play play a rhythm and then play some

593
00:33:11,160 --> 00:33:13,480
drums over it with the guitar, and yeah, it turns

594
00:33:13,519 --> 00:33:14,119
out pretty good.

595
00:33:14,160 --> 00:33:16,400
Speaker 12: I like that because that allows me to play the lead.

596
00:33:16,720 --> 00:33:19,160
Speaker 13: Oh okay, so that way I can just pick up

597
00:33:19,160 --> 00:33:20,920
a harmonica and not have to have it on that

598
00:33:21,680 --> 00:33:23,839
on the head gear or just play a solo you know.

599
00:33:24,079 --> 00:33:27,519
Speaker 1: Yeah, yeah, is is that challenging when you're first starting

600
00:33:27,519 --> 00:33:29,640
with the loop pedal or does that come pretty easy?

601
00:33:29,759 --> 00:33:33,359
Speaker 13: It's definitely helped just with the experience as far as

602
00:33:33,440 --> 00:33:35,839
recording and playing to a metronome as long as you

603
00:33:35,880 --> 00:33:36,839
can keep that time.

604
00:33:37,079 --> 00:33:39,640
Speaker 12: Yeah, you know, so it came pretty naturally.

605
00:33:40,000 --> 00:33:41,599
Speaker 1: And I guess if you're doing it live and you're

606
00:33:41,599 --> 00:33:44,160
playing original music, it kind of doesn't matter if like

607
00:33:44,200 --> 00:33:48,079
if you if something isn't if you're looking something that

608
00:33:48,160 --> 00:33:50,279
maybe isn't quite what you intended, maybe you made a

609
00:33:50,279 --> 00:33:52,079
little bit of a mistake, but it kind of doesn't

610
00:33:52,160 --> 00:33:53,599
really matter, right because it's.

611
00:33:53,720 --> 00:33:54,920
Speaker 13: Well and I prefer it that way.

612
00:33:54,960 --> 00:33:55,119
Speaker 12: You know.

613
00:33:55,160 --> 00:33:59,119
Speaker 13: I recorded backing tracks of drums, bass and guitar so

614
00:33:59,160 --> 00:34:01,480
that I could sing and play lead over it. Yeah,

615
00:34:01,519 --> 00:34:04,200
and you know, hit play play through the song. But

616
00:34:04,279 --> 00:34:06,240
it made it the same every time, Okay, so you

617
00:34:06,240 --> 00:34:07,880
know I was kind of against that. Rather I have

618
00:34:07,960 --> 00:34:11,760
it be dynamic, you know, and then if something cool happens,

619
00:34:11,840 --> 00:34:14,440
if I add some little like weird rosta part to

620
00:34:14,480 --> 00:34:16,440
one of my songs, right, you know, some kind of

621
00:34:16,440 --> 00:34:19,320
cool riff, you know, it just makes it unique. Yeah, yeah,

622
00:34:19,440 --> 00:34:23,719
I think that's something that, you know, maybe missing in

623
00:34:23,800 --> 00:34:27,519
some music. You know, Like I enjoy just how dynamic

624
00:34:27,679 --> 00:34:29,760
the loop pedal and the acoustic can be. I've been

625
00:34:29,800 --> 00:34:32,519
in cover bands where if you mess up one note

626
00:34:32,559 --> 00:34:35,480
on Sweet Child of Mind, everyone gives you a glare. Yeah,

627
00:34:35,480 --> 00:34:36,440
you know, I'd rather.

628
00:34:36,280 --> 00:34:39,360
Speaker 12: Have it be dynamic where yeah, still haven't just having fun.

629
00:34:39,519 --> 00:34:42,320
Speaker 1: Yeah, that's something about cover bands I've always thought it

630
00:34:42,320 --> 00:34:45,239
as interesting is that some people really do get like

631
00:34:45,280 --> 00:34:49,039
they want to hear the songs exactly the way they were.

632
00:34:49,000 --> 00:34:51,519
Speaker 12: And a lot of people play them well you know, yeah, but.

633
00:34:51,599 --> 00:34:54,159
Speaker 1: Which is cool and everything. But I kind of like

634
00:34:54,199 --> 00:34:56,199
it when there's something a little different. You know, It's

635
00:34:56,239 --> 00:34:58,119
like I already know how the original sounds, I want

636
00:34:58,119 --> 00:34:59,480
to hear your interpretation of it, you know.

637
00:34:59,480 --> 00:34:59,800
Speaker 9: What I mean.

638
00:35:00,320 --> 00:35:03,000
Speaker 13: I like seeing those you know, acoustic bands, you know,

639
00:35:03,039 --> 00:35:05,079
you have a couple guys of the Kahne and an

640
00:35:05,079 --> 00:35:08,920
acoustic and a base just doing covers like not near

641
00:35:09,039 --> 00:35:11,199
the Beach, that kind of thing, yeah, the summertime, and

642
00:35:11,199 --> 00:35:13,280
that it's a completely different feel when you have that

643
00:35:13,400 --> 00:35:14,719
kind of like acoustic band.

644
00:35:14,880 --> 00:35:18,360
Speaker 1: Oh definitely, yeah, yeah, uhh we have time. You want

645
00:35:18,360 --> 00:35:19,000
to play another one?

646
00:35:19,119 --> 00:35:22,960
Speaker 12: Yeah, let me I'll do one called feed. Let me

647
00:35:23,039 --> 00:35:24,239
just take this.

648
00:35:24,400 --> 00:35:28,199
Speaker 1: Yeah, absolutely, if you're just joining us, Sean Manchester is

649
00:35:28,199 --> 00:35:33,239
here with us, playing live, sounding amazing, really enjoying this

650
00:35:33,320 --> 00:35:34,760
a lot, Thank you very much.

651
00:35:34,840 --> 00:35:38,679
Speaker 13: Absolutely, this one's not normally an acoustic but well, okay,

652
00:35:39,039 --> 00:35:57,039
send it.

653
00:35:57,079 --> 00:35:57,960
Speaker 12: What's it bound to be?

654
00:35:58,119 --> 00:36:03,760
Speaker 6: Playfoolded and from the lies thout offending all this and

655
00:36:04,519 --> 00:36:05,719
cutting our ties.

656
00:36:06,199 --> 00:36:07,760
Speaker 9: Can't take it anymore.

657
00:36:08,320 --> 00:36:13,440
Speaker 6: I won't handle it this time, trying to breakthrough, no

658
00:36:13,480 --> 00:36:14,320
matter how.

659
00:36:14,239 --> 00:36:15,480
Speaker 9: Hard to try.

660
00:36:15,920 --> 00:36:22,119
Speaker 6: Everything that's tossed now, So Hi tried too many times

661
00:36:22,159 --> 00:36:30,000
to tell you why I'm stove hardening too fad we

662
00:36:31,119 --> 00:36:33,039
thout a fad.

663
00:36:34,119 --> 00:36:37,320
Speaker 3: I'm starting to faith.

664
00:36:41,000 --> 00:36:55,559
Speaker 6: Away, jem, it's coming in. I'm onto you taking in too,

665
00:36:55,760 --> 00:36:59,519
cutting straight onto. My brain is fassing with the time,

666
00:37:01,840 --> 00:37:05,000
and then this world will crumble down. Just roaming through

667
00:37:05,079 --> 00:37:13,119
this hopeless tworison without a chance for rhyme, stodartening till.

668
00:37:13,000 --> 00:37:18,480
Speaker 2: Bade with down of bad.

669
00:37:19,920 --> 00:37:23,079
Speaker 3: Stodarting till bad.

670
00:37:26,800 --> 00:37:53,800
Speaker 1: Way nice. Nice. That's called fade, Yes, yep, very cool.

671
00:37:53,800 --> 00:37:57,960
Fade by Sean Manchester, who's here with us live in studio.

672
00:37:58,199 --> 00:37:59,639
This guy got kind of a little bit of a

673
00:37:59,639 --> 00:38:01,760
little bit of a grunge vibe there to that when

674
00:38:01,800 --> 00:38:03,599
I like that, Yeah, yeah, it runs me a little

675
00:38:03,639 --> 00:38:06,039
bit little bit nineties nineties, a lot.

676
00:38:06,000 --> 00:38:06,880
Speaker 12: Of the early stuff.

677
00:38:07,079 --> 00:38:09,559
Speaker 13: Well, so that's something I should have mentioned too, foo Fighters,

678
00:38:10,159 --> 00:38:13,199
you know, I like uh, Nirvana and Foo Fighters, mostly

679
00:38:13,280 --> 00:38:16,280
Dave Grohl being the multi instrumentalists. Oh yeah, I like

680
00:38:16,320 --> 00:38:19,079
a lot of that post grunge kind of. So that's

681
00:38:19,079 --> 00:38:20,920
one of the earlier songs that I wrote. So it

682
00:38:20,960 --> 00:38:23,199
definitely has those grungy vibes to them.

683
00:38:23,320 --> 00:38:23,519
Speaker 6: Yeah.

684
00:38:23,599 --> 00:38:27,280
Speaker 1: Yeah, your songs too, so I noticed that there there

685
00:38:27,320 --> 00:38:30,440
are they all your songs are kind of shorter than

686
00:38:30,719 --> 00:38:33,400
a lot of singer songwriters. Some some singer songwriters you

687
00:38:33,400 --> 00:38:36,519
know we've had on the got like these six minute songs,

688
00:38:36,559 --> 00:38:38,559
but yours are yours are kind of Yeah.

689
00:38:38,599 --> 00:38:41,440
Speaker 13: I I normally, you know, if I have the loot pedal,

690
00:38:41,480 --> 00:38:43,679
that helps to make it a little bit longer. Yeah,

691
00:38:43,679 --> 00:38:45,880
but I like to keep them kind of short and

692
00:38:45,920 --> 00:38:48,440
sweet to the point, so you know, stay along with

693
00:38:48,480 --> 00:38:49,039
the song.

694
00:38:48,960 --> 00:38:51,280
Speaker 1: Yeah, ye of it. Well, it's that expression, don't boris

695
00:38:51,280 --> 00:38:53,360
get to the chorus exactly exactly.

696
00:38:53,440 --> 00:38:55,280
Speaker 13: Yeah, you know, so I do have a lot of

697
00:38:55,400 --> 00:38:59,679
it's it's very like pop, you know, radio music, that's

698
00:39:00,039 --> 00:39:03,400
very similar structure to that. Yeah, and you know, having

699
00:39:03,480 --> 00:39:05,480
a band or the loop pedal makes it a lot

700
00:39:05,519 --> 00:39:09,199
easier to do those intricacies because I have I love

701
00:39:09,320 --> 00:39:14,199
doing the yeah that riff and like I can layer

702
00:39:14,239 --> 00:39:16,800
it and the loop pedal makes it so much fun.

703
00:39:16,920 --> 00:39:19,599
Speaker 1: Yeah. Yeah. How did you learn to play guitar? I

704
00:39:19,639 --> 00:39:22,480
know you're vocally your self taught? What about what about guitar?

705
00:39:22,840 --> 00:39:26,039
Speaker 12: Same, just self taught. Looked up tabs too.

706
00:39:26,760 --> 00:39:30,960
Speaker 13: What is the first thing I played? Chili peppers? That's

707
00:39:30,960 --> 00:39:38,000
another big influence. Oh really, sitting in my mom's basement

708
00:39:38,039 --> 00:39:41,119
when I was sixteen and got the guitar for my

709
00:39:41,199 --> 00:39:43,719
birthday or Christmas, one of those, Yeah, and I just

710
00:39:44,280 --> 00:39:47,000
looked up the tabs, started going to town and then

711
00:39:47,159 --> 00:39:51,840
the other one was shine down. Oh yeah, so just

712
00:39:51,920 --> 00:39:55,159
learning the yeah, learning the tabs and went from there,

713
00:39:55,280 --> 00:39:55,880
just kept with it.

714
00:39:56,079 --> 00:39:59,519
Speaker 1: Yeah. Yeah, nice. Was that your because you're a multi

715
00:39:59,559 --> 00:40:02,199
instrument was that your first instrument? Guitar? Did you start

716
00:40:02,199 --> 00:40:02,599
on guitar?

717
00:40:02,800 --> 00:40:05,519
Speaker 13: Yeah? Well, I mean i'd played piano, here and there,

718
00:40:05,679 --> 00:40:08,000
just when I saw one messing around, you know, so

719
00:40:08,079 --> 00:40:10,199
I had like, that's what kind of got it going,

720
00:40:10,360 --> 00:40:13,239
just seeing how much fun it was, And oh, I

721
00:40:13,280 --> 00:40:14,800
can create something out of nothing.

722
00:40:15,119 --> 00:40:19,960
Speaker 1: That makes sense because I've heard so many music instructors

723
00:40:20,039 --> 00:40:26,079
and teachers say that ideally, if you start on a keyboard,

724
00:40:26,880 --> 00:40:30,119
that's the best way to start to learn, start to

725
00:40:30,199 --> 00:40:32,199
learn the fundamentals, and train your brain.

726
00:40:32,440 --> 00:40:35,760
Speaker 13: It makes it a lot easier to apply the music

727
00:40:35,840 --> 00:40:38,360
theory just because all the notes are in order. So

728
00:40:38,400 --> 00:40:40,880
then when you look at a guitar neck if you see, oh,

729
00:40:40,920 --> 00:40:43,320
each frett is basically a key on the keyboard.

730
00:40:43,440 --> 00:40:45,639
Speaker 12: Yeah, it helps for the visualization.

731
00:40:45,000 --> 00:40:46,719
Speaker 13: Of it a lot. Yeah, I think that was the

732
00:40:46,719 --> 00:40:47,719
biggest thing really.

733
00:40:47,800 --> 00:40:50,000
Speaker 1: Yeah, yeah, yeah, I've heard a lot of instructors say

734
00:40:50,000 --> 00:40:51,400
that that that's that's ideal.

735
00:40:52,159 --> 00:40:55,199
Speaker 13: I'm going to get a piano this spring or summer.

736
00:40:55,360 --> 00:40:57,039
Oh no, just got to find one of those ones

737
00:40:57,039 --> 00:40:59,639
that people have that are free, that they you know,

738
00:41:00,159 --> 00:41:01,039
like a full piano.

739
00:41:01,079 --> 00:41:03,800
Speaker 12: Oh yeah, kidding. I'm gonna have a little.

740
00:41:05,400 --> 00:41:07,840
Speaker 13: Roof over my campfire pit so I can have you know,

741
00:41:07,960 --> 00:41:10,960
a piano by the fire, keep it covered and do

742
00:41:11,039 --> 00:41:15,239
some like you know, outdoor saloon campfire jams with my friends,

743
00:41:15,239 --> 00:41:18,000
you know, have a couple of people on guitar or whatever, whoever.

744
00:41:17,679 --> 00:41:18,280
Speaker 12: Shows up with.

745
00:41:18,679 --> 00:41:21,480
Speaker 1: Oh, very cool and yeah.

746
00:41:21,199 --> 00:41:24,039
Speaker 13: Whatever, make some fun jams. But I've always wanted an

747
00:41:24,039 --> 00:41:27,119
outdoor piano like that. I couldn't really beat that. You know,

748
00:41:27,199 --> 00:41:30,360
the sound of piano outside at night would be awesome.

749
00:41:30,480 --> 00:41:32,239
Speaker 1: What do you do about that in the winter? You've

750
00:41:32,239 --> 00:41:33,400
probably already researched it.

751
00:41:33,719 --> 00:41:37,119
Speaker 13: Yeah, well, I mean the piano is on its last leg.

752
00:41:37,280 --> 00:41:43,920
So what happens in winter if it's restorable, if it's

753
00:41:43,920 --> 00:41:46,719
some attitude tune junkie one that they're just going to

754
00:41:46,800 --> 00:41:49,159
toss anyways, you know, Yeah, I guess it doesn't matter, right,

755
00:41:49,400 --> 00:41:55,360
Maybe a bonfire for winter, Yeah, end up burning a

756
00:41:55,360 --> 00:41:58,199
million dollar piano?

757
00:42:00,840 --> 00:42:01,119
Speaker 9: Uh?

758
00:42:01,639 --> 00:42:03,559
Speaker 1: You wanna you want to seek in one more? We

759
00:42:03,599 --> 00:42:05,199
have We have time if you want to do one more,

760
00:42:05,239 --> 00:42:07,079
and then.

761
00:42:07,000 --> 00:42:11,000
Speaker 13: I'll do a fun one. Okay it's called generic love song. Okay,

762
00:42:18,000 --> 00:42:20,599
now let me take these headphones off real quick, false

763
00:42:20,639 --> 00:42:22,159
start tell you.

764
00:42:22,079 --> 00:42:22,639
Speaker 12: Know it's live.

765
00:42:26,559 --> 00:42:33,840
Speaker 2: H come on over and oh sar and age you

766
00:42:34,440 --> 00:42:35,360
what do you like?

767
00:42:35,440 --> 00:42:37,199
Speaker 9: What do you want to hear?

768
00:42:38,159 --> 00:42:42,239
Speaker 6: A singing loud and me, your legs quiver, I'll lean

769
00:42:42,360 --> 00:42:42,960
in close and.

770
00:42:42,920 --> 00:42:44,639
Speaker 9: Whisper in your ear.

771
00:42:45,519 --> 00:42:50,599
Speaker 6: You just know, a generic love song, just something that

772
00:42:50,760 --> 00:42:51,920
I can sing.

773
00:42:53,280 --> 00:42:53,519
Speaker 17: You know.

774
00:42:53,679 --> 00:42:58,639
Speaker 6: We you'll be off my sat list now we'll miss

775
00:42:59,280 --> 00:43:08,639
sing thing. What's your name?

776
00:43:08,800 --> 00:43:10,559
Speaker 9: Again? Sorry? My bad?

777
00:43:11,039 --> 00:43:15,199
Speaker 6: You just another girl that I know won't last. But

778
00:43:15,400 --> 00:43:18,000
let's single, wong and not fun.

779
00:43:18,800 --> 00:43:21,639
Speaker 9: Tomorrow morning, this will be done.

780
00:43:22,360 --> 00:43:27,639
Speaker 6: You just another generic laugh song, just something that I

781
00:43:27,960 --> 00:43:32,639
care sing. In a week, you'll be off my setlist

782
00:43:33,400 --> 00:43:37,079
and now will miss a single thing.

783
00:43:39,159 --> 00:43:48,840
Speaker 3: It's a single thing. It's a single thing. We'll miss thing.

784
00:44:02,880 --> 00:44:06,039
You just not a Janiaric love song.

785
00:44:07,039 --> 00:44:11,760
Speaker 6: Just something that I can sing. You know, we kuby

786
00:44:12,000 --> 00:44:13,519
off my sat list.

787
00:44:14,559 --> 00:44:18,440
Speaker 2: No, miss a single thing.

788
00:44:32,840 --> 00:44:35,920
Speaker 1: That's awesome. What a great track. That's great generic love

789
00:44:36,000 --> 00:44:37,840
song by It's a.

790
00:44:37,840 --> 00:44:40,559
Speaker 13: Little bit of a tongue in cheek song, right, Yeah,

791
00:44:40,559 --> 00:44:42,800
it's the most I love all my songs.

792
00:44:42,840 --> 00:44:45,159
Speaker 12: Can't be heartbreaking, you know, Yeah I'm broken?

793
00:44:45,920 --> 00:44:49,039
Speaker 1: Yeah, No, that's that is fun, have a little fun.

794
00:44:49,159 --> 00:44:52,480
That's awesome. Thanks Sean. What should people know about how

795
00:44:52,480 --> 00:44:54,800
to keep up with you online? Follow everything that you're doing?

796
00:44:55,119 --> 00:44:58,719
Speaker 13: Yeah, if you search for Sean Manch you know Manchester

797
00:44:58,840 --> 00:45:04,679
abbreviated just on Google, Facebook, Instagram, all those places I

798
00:45:04,760 --> 00:45:09,000
keep up, YouTube, Spotify, so pretty much if you look

799
00:45:09,039 --> 00:45:10,320
for me there, hopefully I'm there.

800
00:45:10,480 --> 00:45:12,800
Speaker 1: Yeah, you are very googleable.

801
00:45:12,320 --> 00:45:12,880
Speaker 12: Which is good.

802
00:45:12,960 --> 00:45:16,800
Speaker 13: Yeah, definitely, that's that be it. A programmer back in

803
00:45:16,880 --> 00:45:20,840
the day gives it handy, you know, search engine optimization,

804
00:45:21,000 --> 00:45:22,559
that sort of stuff, so exactly.

805
00:45:22,679 --> 00:45:24,639
Speaker 12: Yeah, and if anyone wants to look me up, I

806
00:45:24,679 --> 00:45:25,719
appreciate it. Yeah.

807
00:45:26,000 --> 00:45:28,360
Speaker 1: And do you have anything this weekend that you're playing?

808
00:45:28,440 --> 00:45:29,800
Got any shows you're planning you want to plug?

809
00:45:30,280 --> 00:45:32,519
Speaker 13: Not anything? Right now, I'm going to start doing the

810
00:45:32,559 --> 00:45:35,840
ones that I run, and you know, focus on quality

811
00:45:35,880 --> 00:45:38,559
over quantity, you know, so I focus a lot on those.

812
00:45:38,559 --> 00:45:41,440
But if they follow my uh Facebook, that's where I

813
00:45:41,440 --> 00:45:44,440
definitely update the most, I'd say, And okay, make some

814
00:45:44,519 --> 00:45:48,519
Facebook events and yeah, yeah, going to be booking hopefully fairs.

815
00:45:48,599 --> 00:45:50,280
That's what I want to get into a lot of,

816
00:45:50,360 --> 00:45:53,599
oh really, fares and events like that, kind of get

817
00:45:53,599 --> 00:45:55,360
out of the bar scene with the covers and do

818
00:45:55,480 --> 00:45:58,280
more of the summers, bigger summer events.

819
00:45:58,400 --> 00:46:00,320
Speaker 1: I was going to say, summer is strugbly your busiest time.

820
00:46:00,280 --> 00:46:02,639
Speaker 13: Right well, and the fair ground in Clinton is right.

821
00:46:02,559 --> 00:46:04,920
Speaker 12: Up the road for me. Oh okay, I started to

822
00:46:04,960 --> 00:46:06,639
become a part of the Lions Club.

823
00:46:07,880 --> 00:46:10,920
Speaker 13: Hopefully that's a good play some of these songs.

824
00:46:10,960 --> 00:46:12,199
Speaker 12: It would be a broke man's dream.

825
00:46:12,519 --> 00:46:15,519
Speaker 1: There you go, There you go, There you go. I

826
00:46:15,559 --> 00:46:18,119
think we should end the segment with another track from

827
00:46:18,119 --> 00:46:21,760
your studio, your studio album. I'll let you tell me,

828
00:46:21,840 --> 00:46:24,159
I'll let you pick. That's a good Uh.

829
00:46:26,519 --> 00:46:28,840
Speaker 12: I'm trying to think if there's one that I hadn't played.

830
00:46:29,519 --> 00:46:34,199
Speaker 1: Yeah, did you.

831
00:46:32,679 --> 00:46:35,599
Speaker 13: Oh, there's a one called Survive that's a Survivor one.

832
00:46:35,679 --> 00:46:35,840
Speaker 1: Yeah.

833
00:46:35,880 --> 00:46:37,119
Speaker 12: Yeah, that's why I hadn't played.

834
00:46:37,119 --> 00:46:39,880
Speaker 13: I was trying to think of what was on there. Okay, yeah,

835
00:46:40,000 --> 00:46:42,519
self recorded, and that one's also only about a week old.

836
00:46:42,599 --> 00:46:43,280
Speaker 1: Oh no kidding.

837
00:46:43,480 --> 00:46:45,519
Speaker 13: I've been doing a lot of writing and recording, getting

838
00:46:45,519 --> 00:46:48,159
it out of my mind and getting it on the airways.

839
00:46:48,320 --> 00:46:51,519
Speaker 1: Yeah yeah, no, that is excellent. Okay, yep, I've got

840
00:46:51,599 --> 00:46:53,719
it here perfect. So we will close out the segment

841
00:46:53,760 --> 00:46:56,719
with this. If you are listening live on Saturday, stick

842
00:46:56,760 --> 00:46:59,480
around at the top of the are We've got brand

843
00:46:59,480 --> 00:47:03,679
new the American radio premiere of Elijah Jenkins new track

844
00:47:03,800 --> 00:47:06,039
Stay Tonight. And then immediately After that, we're going to

845
00:47:06,119 --> 00:47:08,480
be talking to the guys from Iron Jaw about their

846
00:47:08,519 --> 00:47:11,280
new album Cursed. They're going to be skyping in from Texas.

847
00:47:11,280 --> 00:47:15,119
But we will close out this segment with Survive. This

848
00:47:15,199 --> 00:47:17,920
is Sean Manchester and Sean thank you again.

849
00:47:17,719 --> 00:47:19,719
Speaker 13: Thank you very much, and have a good day at Manchester.

850
00:48:23,519 --> 00:48:28,679
Speaker 6: Have you laid alone? And monstars go out to everyone

851
00:48:28,840 --> 00:48:31,679
to leave you stricken by their town.

852
00:48:32,480 --> 00:48:37,440
Speaker 9: Lonely is sure line the waves ever received. As the

853
00:48:37,480 --> 00:48:51,440
moon goes harder, it brings you to your knees. We tried.

854
00:48:52,639 --> 00:48:58,599
Speaker 3: To stay alive to know he can't just to survive.

855
00:48:59,400 --> 00:49:00,239
Speaker 2: We tried.

856
00:49:01,920 --> 00:49:04,960
Speaker 11: Stay alive to you know.

857
00:49:05,079 --> 00:49:08,280
Speaker 3: He catches to survive.

858
00:49:17,800 --> 00:49:22,199
Speaker 6: When you feel change that away on your mind, the

859
00:49:22,360 --> 00:49:23,239
taste of your.

860
00:49:23,320 --> 00:49:30,559
Speaker 20: Endeavors, hoegry, minds changing with your purpose, tearing down lies,

861
00:49:31,400 --> 00:49:34,519
rooming with your team and haunt you in the.

862
00:49:34,679 --> 00:49:54,400
Speaker 3: Mind which.

863
00:49:56,039 --> 00:49:59,559
Speaker 11: To stay alive to it all.

864
00:49:59,480 --> 00:50:02,039
Speaker 3: We can and just to survive.

865
00:50:02,840 --> 00:50:09,599
Speaker 6: We try to stay alive till no, we can't just

866
00:50:09,840 --> 00:50:11,039
still survive.

867
00:50:48,119 --> 00:50:51,800
Speaker 11: We can't to stay line.

868
00:50:53,760 --> 00:50:56,320
Speaker 3: We can't just to survive.

869
00:50:57,159 --> 00:50:58,159
Speaker 4: We try.

870
00:50:59,360 --> 00:51:00,840
Speaker 11: To stay a lie.

871
00:51:02,920 --> 00:51:05,440
Speaker 3: You can't just do survive.

872
00:51:41,519 --> 00:51:44,159
Speaker 9: The warm running lines.

873
00:51:44,000 --> 00:51:49,480
Speaker 6: And must dollars offer rushing degree, but we left succeed,

874
00:51:50,880 --> 00:51:51,840
say Pancy.

875
00:51:53,480 --> 00:51:59,079
Speaker 9: She really believes rubbing gass won't be live.

876
00:51:59,559 --> 00:52:01,719
Speaker 3: I can see you spoke in this guy.

877
00:52:04,800 --> 00:52:13,920
Speaker 4: Just flat say so start steel rids be the worsting somewhere.

878
00:52:14,039 --> 00:52:19,360
Set that's flat, says so Scottiste.

879
00:52:22,400 --> 00:52:31,199
Speaker 9: Lea the welting. So now I was you.

880
00:52:31,679 --> 00:52:36,079
Speaker 6: No money does not grow Walter, you break your boss

881
00:52:36,079 --> 00:52:36,840
still around the.

882
00:52:40,400 --> 00:52:50,079
Speaker 4: Guess bread, says so start Steele at the wilting Somewhere's good.

883
00:52:50,159 --> 00:53:00,320
That's flat size, And so Scottiste lead in the wilting somewhere.

884
00:53:27,000 --> 00:53:31,519
Speaker 3: Mast friend a friend, so saw stop first steep me

885
00:53:31,719 --> 00:53:32,440
you love.

886
00:53:33,920 --> 00:53:37,880
Speaker 4: Leather in the wild face so fast that's ms still

887
00:53:38,000 --> 00:53:42,400
friend so friends so so stuff Steele step your love

888
00:53:44,119 --> 00:53:45,880
yet the wild face as.

889
00:53:49,159 --> 00:53:50,400
Speaker 3: We have a little wilfast.

890
00:54:26,280 --> 00:54:28,480
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out of ten we listened to our music at night.

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That's one titled books program Late.

927
00:56:52,480 --> 00:56:56,239
Speaker 15: Night to Light with DJ Bidas right here on WMNH, Manchester.

928
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Speaker 3: You want to know why because.

929
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Speaker 10: Days and Sunday nights midnight to four am.

930
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Speaker 22: This hour on WMNH is sponsored by CGI Business Solutions,

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944
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Television Service in the venerable City of Manchester, New Hampshire, USA.

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Enrich your auditory journey with the depth of our license

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to wesn'tsspt your missives w M n H ninety five

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three at gmail dot com or traverse the virtual corridors

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of w m n hradio dot org. Engage with our

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sonic vibrations by communing with us through the digital channels

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or radio beconds, eager to enthrall you with its mesmerizing

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kdence and develop you with a symphony of foundless auditories.

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Speaker 3: Wonder w M n H rip the novels you're listening to.

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Speaker 22: W M and H.

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Speaker 6: Commander, don't get supremely Maxill.

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Speaker 16: This is Eleanor Langthorne from Vices Inc.

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Speaker 13: And you're listening to Matt Connorton Unleashed on ninety five

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point three w m n H