September 13, 2025 • 58 mins
w/Santino DeMonte and Caleb Dyer
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Right now, the world radio premiere of the new single
from f This is called My Prettiest Mistake.
Speaker 2 (00:10):
You're listening to wumin world premiere.
Speaker 3 (00:29):
And in a mod and that it's warming outside. I'm
craving a cars following that WROP this night a shirt
of the better.
Speaker 4 (00:42):
But I expect to suit guys. Oh, I was to
gather the oh okays.
Speaker 5 (00:48):
They not.
Speaker 6 (00:52):
Let me.
Speaker 5 (00:57):
Have a made you pro My priend is missed.
Speaker 4 (01:14):
They found my person.
Speaker 3 (01:17):
Take me back to the mom kid stock.
Speaker 7 (01:22):
Side that I loved, sides fast to the spot change
in my mom talk lead men.
Speaker 8 (01:39):
Have a miss.
Speaker 4 (01:43):
From Oh tell me what I'm missing?
Speaker 3 (01:55):
Somebody took my position and cass that's boy.
Speaker 4 (02:00):
Your sister away. I can listen a Hobey card you
think in one day I by them that the sorta
out and riding.
Speaker 5 (02:11):
They find no.
Speaker 9 (02:12):
Way to ficture that sell me a says somebody took
about the session. It jas us by your sister the
way with the actual listen hob becaud till one day
I'm not done there that the song I'm riding, They
(02:33):
find the way.
Speaker 5 (02:34):
The fitture.
Speaker 1 (03:40):
Right now, the world radio premiere of the new single
from Tuesday Night whites. This is called time.
Speaker 2 (03:48):
You are listening to W M and H World Premiere, Black.
Speaker 10 (04:22):
Sye on the window sill he works in his phones
eights some people still in mind, name and days where
he shot out the seventh son, the black south of
half his days.
Speaker 6 (04:35):
Can't remember the dreams he used.
Speaker 10 (04:37):
To parade by signs don up, just remember to fire
the gun.
Speaker 6 (04:45):
He said. Time is like a mind you step to
send you up, but you.
Speaker 11 (04:51):
Far too good for this out saw the phone looked,
because you're far too talk through this town, because you're
(05:16):
far too taught first town.
Speaker 6 (05:19):
Does she dream of.
Speaker 10 (05:20):
A better life while love came first to as a
family strife on the bath? Does he chose seems not
bounce the fire within? Does she face with those things
on small though sadly Salmas on the factory floor that
she believes as up Remember it a load the gun,
(05:42):
she said, Time is like him mind.
Speaker 6 (05:44):
You was there to send you, but you far too
cut through solf.
Speaker 12 (05:52):
Sot look your program this time.
Speaker 5 (06:13):
Protra time.
Speaker 13 (06:39):
Because time is like you can't monthy start to send you,
but you far to go for this time. Because time
is like you can't mindy start ton snd you you
far to go for this time.
Speaker 14 (07:00):
So don't mutter. She falls you go s soun don't look.
Speaker 12 (07:21):
Cause you fot sa don't sound don't.
Speaker 15 (07:32):
Because you don't spy sound myself, because you don't prefer yourself.
Speaker 5 (07:48):
She said, time's gonna turn.
Speaker 12 (07:50):
My f canste the sound me to mister.
Speaker 14 (08:01):
My field.
Speaker 16 (08:38):
You're listening to Matt Connerton Unleashed on wm n H
ninety five point three.
Speaker 1 (08:45):
Now it's the American radio premiere of the Way We're
Rolling by Lydia. Ready, I can not act this.
Speaker 4 (08:59):
I like that.
Speaker 17 (09:01):
It doesn't matter out of the week because I exist
for me. I can walk or I can't trash. It
doesn't matter other way because I talk for me.
Speaker 12 (09:12):
Chatter sense shuts my purpose.
Speaker 6 (09:16):
You are so perfect, even if you don't over it.
Speaker 17 (09:19):
Oh my beer co comment shoulder all the way I'm commenting,
And this is just the.
Speaker 4 (09:25):
Way we're rolling. This is just the way we're rolling.
I can sit down, no stand up top. That is
just the way it's kind of go. So I'll be
(09:46):
me and you'll be you.
Speaker 17 (09:50):
That is what we've kind of you to try to
get through you chats with sister shuts my purpose.
Speaker 8 (09:57):
You are some perfect even if your dog, call my
pelf common.
Speaker 5 (10:02):
Shoulder all the way I comfort that this is just
the way were rolling. Yeah, this is just the way
we're rolling.
Speaker 6 (10:15):
Yeah.
Speaker 17 (10:16):
Yeah, someone just hurt you.
Speaker 18 (10:22):
This will hurt you.
Speaker 17 (10:24):
Turn over, think kid, They don't you, sir, know that
you'll come through everything there you do be your own person.
Speaker 12 (10:32):
Thereby for you.
Speaker 5 (10:38):
Ye livel follow you. You gotta leave.
Speaker 12 (10:48):
Shadsman, sisir shots my cother.
Speaker 19 (10:52):
You're some perfect even if your jo told a a
peep on the shoulder for the way I covered.
Speaker 12 (11:02):
Jenas Jess.
Speaker 5 (11:07):
If you don't know, oh show and this is just
the lad.
Speaker 1 (11:20):
This is just the la.
Speaker 4 (11:27):
This is just the la.
Speaker 16 (11:41):
You are listening to macconnorton Unleashed on wm n H
ninety five point three.
Speaker 1 (11:47):
And finally, the American radio premiere of the new single
from Kyle Gordon. This is called She Chose Me.
Speaker 20 (12:36):
If the skies are gray, when the day is night,
I can't find my way. If the day is night,
it's homeless. Let me shine your skies part of me.
I still on the stand. We sing that every night,
(13:02):
all the hiving time. We don't always get it right.
Speaker 8 (13:11):
Don't know my dog no, no, don't know why she
chugs me.
Speaker 5 (13:27):
Why sh't chose me.
Speaker 4 (13:47):
If you're far away?
Speaker 20 (13:49):
When the day is nine, I remain the same, just
like black and why we should not a summer?
Speaker 21 (13:58):
Just why I mean to.
Speaker 14 (14:00):
The part of me.
Speaker 20 (14:02):
I still don't understand we had in bed e men.
No need to turn up the line. Always share it time.
We don't always get it right. I just want to
(14:24):
get it right.
Speaker 5 (14:25):
It's not.
Speaker 8 (14:30):
No, no, she jumps me.
Speaker 5 (14:44):
Don't take the siss.
Speaker 22 (15:05):
The spect speaking set spect.
Speaker 8 (15:30):
Step outside of such.
Speaker 1 (16:39):
Welcome everybody, Here we go. It is that time again,
Matt Connorton Unleashed and we are live bringing you a
bunch of new music to start the show today, and
you might hear that again later in the show. Of course,
we've got the next few hours with you if you
are listening live on Saturday morning. Matt Connorton Unleashed from
the studios of wm n H ninety five point three
FM and Glorious man Esther in New Hampshire. Today is
(17:02):
a Saturday, September thirteen, twenty twenty five, and I am
not alone.
Speaker 23 (17:14):
Jenny, Good morning, Sunshine.
Speaker 1 (17:20):
Jenny is here at the news table four. I am yes, yes,
covered from my last week to DC yes, thank you,
and uh, we got a couple of other fine people
here in studio with us. Get those mics up here. So,
one of whom has been on the show recently, Caleb Dyer, returns. Hello, Caleb, Hello, Hello,
(17:41):
welcome back. It is good to see you.
Speaker 21 (17:43):
Yeah, good to see you as well.
Speaker 1 (17:44):
And you brought with you someone whose music we recently
did a world radio premiere for. Yes, Santino Demante is here.
Speaker 21 (17:52):
Hello.
Speaker 1 (17:52):
Now that I know, now that I know how to
say your name correctly, I apologize. I think the day
we premiered the song, I was saying Demante.
Speaker 21 (17:59):
It works not out, but it's Demanty perfect.
Speaker 1 (18:02):
Yes, yes, So I'm glad we cleared that up, because
I do try to get everyone's names correctly. I know
what it's like to have people struggle with, you know,
because my last name is very unusual. So in fact,
in high school, my nickname was Canarton because the first
day of school, the teachers they would, you know, they'd
do the roll call and they'd get to my name
and they'd inevitably they would all say Canarton, And so
(18:24):
all my friends just started calling me that. But man,
I got so used to it that even today, if
someone mispronounces it, it takes me a second to remember
to correct them right because I'm so used to it.
But we did the world radio premiere for your debut single, Yes,
Summer in the Sky, not only your first single as
a solo artist, correct, but the inaugural release on Hatchet At.
Speaker 23 (18:49):
It's a mouthful hatchet acs and saw. But yes, it
was our very first release. We're very proud of it.
There's hopefully much more to come from the company. And yeah, no,
I mean we poured our heart and soul into it.
We we finished that tune in thirty days, which was
an accelerated schedule for sure. Yeah, but we we put
in just as much time and care and attention as
(19:11):
we would any other project. And yeah, it came I
thought it came out excellent. I could hear every element
that I wanted to in it, and yeah, yeah, yeah.
Speaker 1 (19:21):
The production is great.
Speaker 21 (19:23):
Thank you.
Speaker 1 (19:24):
How involved are you so you're you're completely Why do
you do? Do you engineer the track?
Speaker 23 (19:30):
And so for this, for this particular project with Tino,
it was it was just Santino and myself. I was
the principal engineer and then after we you know, got
the tracks, after we recorded everything. We really sat down
and we got to you know, putting a mix on
it and getting the levels correct, and then you know,
through to the mastering process. We did everything in house.
(19:52):
Originally when the when the company was founded, we originally
thought that we were going to have to kind of
outsource some of the mastering, Yeah, just just to make
things easier on us. But we purchased some software and
we're imminently gonna be probably purchasing some more hardware that
will make it even easier for us to do everything
in house.
Speaker 1 (20:11):
So that's something I didn't realize. So you so you
mastered this?
Speaker 21 (20:14):
Yes?
Speaker 23 (20:15):
This was uh, I mean well it was actually cooperatively
I would say, mastered by Santino and myself. He was
still involved down to the wire, right, right, so when
we finished the tune. Uh, Santino was the person who
made the final edits. So well, yes, I did apply
the the effectuation right, the compression and equalization on the
(20:35):
main you know, it was tweaked and it was dealt
with by both of us.
Speaker 1 (20:40):
Okay, okay, outstanding, And uh, now what's kind of the plan,
like do you have more?
Speaker 21 (20:46):
Are you?
Speaker 1 (20:46):
Are you just gonna release more singles? Or do you
have an album or an EP and the works or what.
Speaker 21 (20:51):
I would like to do?
Speaker 18 (20:52):
So right now plan we have an EP for next
spring probably excellent, excellent, So we're gonna spend some time
work on that and spend some time this time.
Speaker 23 (21:00):
Yeah, it's going to be a little bit more drawn out,
and I don't know exactly how many songs that it
was four or five, five I believe, and in one
of one of those songs will be recycling of somewhere
in this Guy, So it's four additional and then somewhere
in this Guy will be re released with the cool
EP collection. So yeah, and there might be slight changes
but I don't think very much will change concerning it.
(21:23):
You never know, you never know, right, Yeah, we're going
to obviously, when we release any collection of works, we
listen back to each of them to make sure not
only there's cohesivity between you know, each song, but that
there's you know, continuity, right, that it feels good listening
to it as if it was an album, right, you know.
(21:45):
And and now I understand EPs can be diverse and
you don't have to do that, but there is definitely
a sort of theme if you will, Yeah, yeah, and.
Speaker 1 (21:54):
And something too that you know, you and Jesse when
when you and Jesse Rutstine were here, you very clear
that with with the label Hatchet Acts and saw I
did it, I do. Jenny's heard me trip on it
a thousand times that that uh, you know, you're you're
really taking your time. And actually we were talking about
(22:14):
it a little bit off air too before the show.
You're really uh committed to making sure that everything's right.
It's not just because sometimes people start something like a
label or some other endeavor and they, uh, you know,
they just kind of throw a lot of stuff against
the wall and see what sticks.
Speaker 23 (22:29):
Very very haphazard. This this company certainly not doing that.
The first two artists we signed, Santino and then Sarah Bird,
who's actually one of Santino's colleagues, played with uh with
Santino yesterday with Dog a Dog excellent and you know
Sarah's tune. I can't wait to release that to the world.
It's so musically interesting really and actually so in the
(22:52):
same way where I principally engineered and you know, mixed
and assisted with mastering Tino's tune, Jesse is to be
working with Bird. So this is kind of we divide
the labor right now kind of in this way, some
of the mixing and mastering on birds tune might be me.
I don't know exactly you know what's going to happen
(23:14):
right now because they haven't finished tracking everything just yet.
But once all is finalized, then you know, we have
the discussion of like, okay, how we move forward. And
in every instance, the artist is the principal creative director
of course, this is this is how it goes, and
we have to as producers, we have to effectuate the
artist's intent. So you know, if I'm brought in to
(23:36):
do anything, it's going to be with Bird. It's going
to be with her as kind of directing me, guiding me.
You know, what she wants in the tune. I've listened
to the tune plenty, but you know I can't be her,
I can't be in her mind. So I need to
and that that's part of doing this I what I
consider to be the right way, where you know, there
are many recording companies and stuff where they will tell
(23:59):
the artists like, oh, you need to write something that's saleable,
you need to write something that that we you know,
feel strong and confident in promoting and we frankly just
don't care. Will you know, if it's original, if it's
if it if we think it's good, if we think
that the musicality is there, will produce it, and you know,
we we'll we'll follow your direction. And I think that
(24:22):
is something that is sorely lacking and missing in our
musical culture in general. Yea, you know there to some degree,
once you have enough money, you can buy creative freedom
of us. There's a lot of there's a lot of
creative direction that that comes in some of these companies.
We're entirely antithetical.
Speaker 1 (24:41):
Yeah, no, I think that's that's excellent. Well, I think
we should let's play the track Summer in the Sky
for anyone who hasn't heard it yet. And of course
this is out on all the streaming platforms and everything,
and anything we should know before we play it, anything
we should know about the song itself. Uh, Santino, do
you have anything you want to.
Speaker 18 (24:56):
It's a it's a tribute to Brian Wilson. Yeah, you know,
well I want to do something for him. I'm not
normally a singer, but I tried it for this one.
And you know, we'll see how that goes. But I
just wanted to I want to just make something for
him because he only passed away in July. And yep,
that's really it's just a feel good uh tune. I
don't even notice about It's about summer.
Speaker 1 (25:16):
My favorite time of year. So I I like, of
course the sky right, very good. So without further ado,
we'll give this a spin and then we'll come back
and talk with these guys some more. But here it is.
This is Summer in the Sky, Santino Demanti.
Speaker 5 (25:42):
The sound of the music, Mother, Mother, it s the snore,
(26:17):
so the snore, So.
Speaker 8 (26:29):
Go away with the dream sons, Roddy, the dreams, the
Indian perfect. I did dreams that the day abouts did
the shoe streams the same season stream mollen Stone.
Speaker 6 (26:50):
But that thing.
Speaker 5 (26:56):
So it's sun.
Speaker 23 (27:08):
Stop so in the store, so.
Speaker 5 (27:24):
Stops and stop.
Speaker 1 (27:56):
So scot, Oh, that is so good, Summer in the Sky.
Speaker 21 (28:13):
Thank you.
Speaker 1 (28:14):
The debut release from Santino Demonti, and of course the
debut release from Hatchet Acts and Saw Records. And we
have both the Santino and Caleb Dyer from Hatchet Acts
and Saw See Now that I can say.
Speaker 21 (28:28):
At I know it is. It is a mouthful.
Speaker 1 (28:31):
No, it's a great name though. I love it. I
love it, and uh, you and you and Jesse shared
how you came up with the name and everything, uh
when you were on and that was that was really interesting.
But I'm also so I'm curious about the production of
the track because you know, it's got that you know,
it's got an old school vibe, you know, and as
you said, Santino, it's a tribute to Brian Wilson in effect.
(28:53):
How hard was it to get because that's that's a
tricky thing, right, to get that that kind of sound
and that vibe vibe without screwing it up. Because you
got it. You want to get that sound in that vibe,
but you also need to make it sound you know,
right modern.
Speaker 23 (29:09):
In the wise words of SpongeBob technique. Technique technique. It's
all about technique. And if you know how these things
were originally done, you can reverse engineer them. Okay, It's
it's pretty pretty much that simple. I will say we
did on some things we used more modern techniques. So
for example, the drum captures are not recorded in the
(29:30):
same way that they would have been recorded back in
that time. But that was done deliberately because we wanted
to add certain textures and overlay things. So there were
certain things that were not kind of those old techniques,
but actually a lot of what we did for the guitars,
like the signal chains, a lot of what we did,
(29:52):
you know, on the actual mastering of it, the actually
the software emulations that we use, because you know, we
are working digitally for the vast majority of everything, with
the exception of the actual signal going into the digital path.
But even on the digital side, the software emulations that
we were using were very much tools or emulations of
tools that would be from that era, and some of
(30:14):
them sounded better than others. So we we you know,
gravitated towards what to our years felt right, but really
it was it was technique. That's really just it. If
you again, if you know how they did it, you
can reverse engineer it.
Speaker 21 (30:29):
Okay.
Speaker 1 (30:29):
Yeah, Is that the most challenging thing you've done as
far as recording?
Speaker 23 (30:33):
Oh no, not even close. No, really, ok yeah, I
mean it's of as of late, it's uh, it's you know,
it's more interesting. But I would say the most challenging
things to record was some of my own stuff and
and and I mean none of that's been released, but yeah,
that's a that's a totally different discussion. Yeah, but yeah,
(30:55):
some of that was was extraordinarily difficult to kind of
get what it should sound like because you know, the
different techniques available to you, the different sorts of microphones,
placement of microphones, all different manners of waves of capturing sound,
and then all of the ways to process sound, and
you have to get to get the right sound, you
(31:17):
have to get both of those things correct.
Speaker 1 (31:19):
So Santino, when you did you write the song yourself?
You Yeah, when you came up with the song, did
the did what ended up being the song the finished product?
Did that match what you had in your head?
Speaker 4 (31:33):
Or was it?
Speaker 9 (31:34):
Was it?
Speaker 1 (31:34):
I mean I imagine it was probably even better, right.
Speaker 18 (31:36):
But well so kind of because like I wrote it
on piano like months ago, probably Okay, in my head,
I'd like, you know, one by one kind of like
imagine like what would make sense for it to be there,
or like what I imagine it to be there?
Speaker 21 (31:49):
Right?
Speaker 18 (31:49):
Yeah, And for so long, like such a long time
of having to be able to sort of like process
like what should be there, Like when we started recording it.
I feel like it just kind of fell in place,
and there were elements I think that are different, but
you know, a lot of it was just.
Speaker 21 (32:08):
Very good.
Speaker 4 (32:09):
Yeah.
Speaker 23 (32:09):
It was just what are we feeling? Or actually what
Tina was feeling. Because I didn't play a single note
on this. Everything that was done was Tina And which
is interesting because there there have been people that have
you know, worked with where you know, I've assisted of
done things where you know, like hey, play based on
it or something like that. Yeah, and you know that's cool,
(32:30):
but I try as much as possible, I want the
artist's intent to be effectuated by whatever we're doing.
Speaker 21 (32:37):
Yeah.
Speaker 18 (32:37):
I also think it depends on who comes in with
a specific mindset, like would you like the producer to
take more charge or maybe have someone else add some
more ideas. And I guess since I had so much
time to do nothing else to think of it, it
was so specific, and I thought that just doing it
myself would give it that specific tention.
Speaker 23 (32:52):
He came in with a super clear creative direction and
that made what I was doing easy. I mean, truly,
it was just it was about, Okay, now all I
have to do is on the recording side of it.
Suggests techniques that will effectuate that intent. He told me.
He told me coming in. Basically, it's a tribute to
Brian Wilson, his life and his memory and how it
(33:13):
affected him musically.
Speaker 18 (33:15):
Yeah, yeah, and I will say that to cut you off,
but I just think that the help that you gave
me a singing primarily. I think Caleb is a very
good coach in vocals. I've learned a lot singing from him,
whereas I may have had some things a little more
like you know, experience just doing certain things. But like
I think singing has been a big thing that Caleb
could help anyone with.
Speaker 23 (33:34):
You know, I certainly try. My only musical training is
on voice in the hear. I never was trained on
any of the other instruments or very briefly piano lessons.
But I stopped that when I realized that I knew
more musically than the teacher did, wow, which that is strangely,
and I tried to find I tried to find another teacher,
(33:55):
and I just was kind of disappointed once that I
was seeking out. But with regards to voice and ear,
I mean as my first things that I did was
doing vocal arrangements in high school. And you know, while
I don't really sing very much now, I sing on
my own unreleased things, but I don't sing much anymore
(34:18):
in any of the groups I'm in, except for maybe
some backups. But yeah, I encourage if vocalists are coming
in and doing work with us. I can certainly, and
I'm not gonna be pushy, but some things are universal
in a recorded context, like you need to enunciate, you know,
clear things unless you want to slur your lyrics. But
(34:42):
you know, I yeah, anyhow, I love working with certainly
Santino and anyone else who's coming in to do work
with us, and you know, guide them through the process
of here's how we get the sound right, because you're
creating the sound, but to get it to sound like
you want on our record, it requires a whole separate
(35:02):
set of science and and that's the part that I
think a lot of gigging musicians kind of miss.
Speaker 1 (35:08):
Yeah. Yeah, well said I'm curious sus Santino about uh,
tell us a little bit more about your affinity for
Brian Wilson and.
Speaker 21 (35:16):
Is he is he likely?
Speaker 23 (35:18):
Is he?
Speaker 20 (35:19):
Is he?
Speaker 1 (35:19):
Is he your biggest influence or is he?
Speaker 21 (35:21):
Yeah?
Speaker 18 (35:21):
Yeah, I love Jimmy Page. Definitely Jimmy Hendrix. Oh yeah,
but I mean, uh, fellow left handed guy. I appreciate
Hendricks very much, that's right. But in my last couple
of years, I think I've really, I've really been taken
aback almost by Brian Wilson. Uh, and just his capability
as a as a just all around musician, I guess,
(35:43):
and arrange your composer things like that. Yeah, and yeah,
like I never heard anything, you know, like like it
before a lot of people know the Beach Boys for
kind of the surf rock thing, but uh, there's really
really complex arrangements.
Speaker 21 (35:57):
That he's done. Like if you listen pet sounds sound speaking.
Speaker 23 (36:02):
Of vocal arrangements, Speaking of vocal arrangements, I mean, I've
said this for some time and I can't take credit.
I don't know who can take credit for saying this first.
But the Beach Boys weren't so much a surf rock
group as they were like a barber shop quartet, exactly
rock band behind him and and it you know, that
stuff is magical. I mean, very few people are trying
(36:25):
to do anything like that anymore. And when Fantino came
with this project and he's like, I want to do
some crazy vocal stacks as of someone who you know,
comes from a vocal arranging background. And I didn't even
have to arrange it, right, Yeah, I didn't even have
to do any of this. He just comes in there
and he hears all the notes in the harmonic series
that he wants to hit, and he's just like, all right,
(36:46):
there it is.
Speaker 18 (36:46):
Yeah, man, it's just it's a fun time. It's just
it's fun more than anything, you know, to put something
out there, you know, it means a lot. So I'm
appreciative for sure.
Speaker 1 (36:55):
Had you ever done anything like this before, because obviously,
you know you've done other projects and well and minute
we'll talk about the other the band that you guys
have together, But had you ever done anything like that
before that? That really kind of serves as such a
fantastic tribute to Bran Wilson.
Speaker 21 (37:11):
Thank you.
Speaker 18 (37:13):
I've written tunes, you know, for this purpose. Well, I
guess in that regard, But this is the first time
that I've recorded it with a good friend of mine
in a good studio. You know, I think I've recorded
a billion demos and stuff, you know, anything like that, even.
Speaker 23 (37:28):
Demos with mego we we have some songs together. One
of them I think is going to get resurrected as
a song for Crank and Wagon pretty soon when tune
called the Fugitive, which I think is gonna eventually appear
on a concept album that Paul Fry is dreaming up
in his head. It's a collective effort, but it's definitely
(37:50):
mostly his creative vision in terms of the story, and
we're just following that intent because we think it's a
good idea. Yeah, we actually just did a show yesterday
at Wormtown out in Greenfield, mass We played the set
and it was space themed and the theme of the
just to this was as Crank and Wagon. Yes, this
Cranking Wagon where I play orgon for the listeners out there.
(38:13):
I play organ and occasionally some electric piano and stuff,
and mister Santino Demante plays percussion and drums, and Paul
Fries the guitar, and we had Nick Vortruba from Bass Sabbath,
which I'm wearing their shirts for all the all the
people watching out there wearing Bass Sabbath. He's in a
very nice tribute band, but he played bass with us
(38:33):
yesterday and it was fantastic. Oh wow, I you know,
I hope, uh, I hope he does more with us.
But even if even if not, even if it was
just a one off, it was still an excellent gig,
a great gig.
Speaker 1 (38:47):
Well, I'm curious to know more about because I haven't
actually heard crankin Wagon, so I'm curious to just to
know more about it, like what's.
Speaker 23 (38:53):
Like, what is it?
Speaker 18 (38:54):
It's a good fusion of like rock and some progressive
elements too. Oh yeah, yeah, so it makes is I
think it blends like maybe simpler rock and roll with
like a good interesting, sort of different flair. And you're
really a big part of the music in that, So
I think you could even attest to more of that,
you know, I think, you know, in my.
Speaker 23 (39:15):
View, and you know, Paul has his own influences that
he brings to the table, but in my view, the
influences that I'm bringing are sort of that seventies progressive rock, Emerson,
Lake and Palmer. Of course, I'm a massive Keith Emerson fan.
Yesterday we covered a deep purple tune. We covered Space
Truck in Nice, which was heavy, man, absolutely heavy, And
(39:38):
you know, I'm a massive John Lord fan. Yesterday at
the gig, I wore a Boston shirt. Tom Schultz is
another musical hero of mine on the organ, and I mean,
if you listen to that music, you know, if you
listen to all of that in the way that the
organ drives it in his central to the rock and
roll and the classical elements. Even yesterday we opened up
(40:01):
the show with Son Andolfgang, but Tay God stalls. We
opened up a rock show with a classical piece, right,
and you know, like you you don't hear that in
like I've I've literally in the last decade, I've not
heard another band doing something musically ambitious like that. And
(40:24):
then the way that we plan transitions between songs and
everything else we do is original. We usually throw in
one cover for the people, but everything else we do
is original. And I mean we play with the time signatures.
We you know, even do some tempo play as well,
where we kind of will drag things and be a
little bit timmy whimy, But it's all deliberate. It's not
(40:45):
it's not like it was not meant to be there.
It's very very meticulously placed and and that I think
is what separates that musical group from a lot of
other ones that you'll hear it's it's just very it's
very deliberate, very composed.
Speaker 1 (41:04):
Now, how long has Crank and Wagon been around? How
long have you been?
Speaker 23 (41:07):
Only about a year? I mean a little over a year.
But it's had various forms, and I'd actually like to
show appreciation to some of the past members because I
mean they, you know, they did excellent things with it
and it's just continued on. But the original drummer was
Cam Clark and he's a fantastic drummer. He's continuing to
(41:28):
do other things now, not exactly sure what he's up to,
but Cam Clark was with us, and then for a
period of time earlier this year, we had Chris Drew
play play a number gigs. He's the bass player in
Dog a Dog, which of course it's a natural, natural
flow over for him to be playing with us. Then
we did a three piece gig where it was just
(41:48):
me left handing the bass. Really yeah, yeah, And I
mean that's the cool dynamic thing about the Wagon is
that you know, we can play a gig is a
three piece with no bass player, or we can add
a bass player and have all of this texture and
you know it, we can do whatever we want to
do musically really yeah, and and and that sort of
(42:08):
creative liberty is I think it's it's getting much more rare.
I think a lot of musicians put themselves into a box.
They don't need to. I think they they think that
all these odd time signatures, these different you know, ways
to feel music and to convey emotion with music. I
think they feel almost like, oh, it's too wacky, it's
(42:29):
too scary, and and like different, and like what if
we don't execute it right? And you know what if
it doesn't And you know, all of these things exist
within musicians heads. They just need to bite in overpower. Yeah,
And you know Crank and Wagon is that it is fearless,
absolutely fearless. You know, we'll we'll have like a nice
(42:51):
rock and groovy section one time, and then all of
a sudden we'll break into five, or we'll break into
seven eight, or you know, or Will will insert a
random measure of nine to eight just because we can
in already an odd time sequence. And and Tino does
exactly what I'm referencing, because he was the one. But
(43:12):
you know, we we just we play with every element
of the music that we can make it interesting. And
something that the listener just doesn't expect, And and that's
what I value in musical compositions, and I know Santino
does as well.
Speaker 18 (43:27):
Absolutely, Yeah, And then what's the plan as far as recording?
Oh so well, hopefully pretty soon. You might know more
than I do actually at this point kind of.
Speaker 23 (43:37):
Sort of, I mean, but we've we've spoken about it
down there, so we have our nice little whiteboard with
our our plans, our evil plants.
Speaker 20 (43:44):
Yes.
Speaker 23 (43:44):
But anyhow, so coming soon is going to be an EP.
I believe it's going to be six songs. It's gonna
contain our self titled track, Crank and Wagon, and it
will have, you know, a few other morsels of things
that people who have seen us live have have already
kind of gotten to know. But it's that's going to
(44:05):
be mostly things that we wrote in the very beginning, okay,
and some one thing I think that was written a
little bit later, But most of it is original sort
of Crank and Wagon, the founding, the genesis of the band,
Paul Frye mostly his direction and writing in those songs.
And then once we complete that, once we put that out,
(44:25):
then we'll set work on the concept album that was
aforementioned that is mostly driven by Paul's creative direction in
terms of the story, but musically, I would say this
is where Santino and I sort of start to get
more aggressive in terms of how we color the ideas
of mister Frya. And in some of the writing is
(44:49):
is Zappa esque, some of it is Emerson, you know,
Keith Emerson and Emerson Lake and Palmer esque, and then
some of it is more in the vein of Paul
Frye and the you know, secure eighties kind of poland
vibe that he is going for. And the name Crank
and Wagon kind of comes for an affinity from this
(45:09):
post World War two sort of Cold War music from
the Eastern Bloc and even actually parts of Western Europe
as well, where it was unique, like not droning music,
but music that was born of the despair of living
(45:30):
in a place that was impoverished, oppressed, where you know,
people didn't have creative freedom. Really if you had it,
it was underground and it was not easy to share.
And that I think inspires all of us, all three
of us in the band, to varying degrees, but the
(45:50):
idea that we use this band as a vehicle for
exactly what we want to put out into the world
and that no one's going to tell us how we
should do it. And if you like it, you like.
If you don't, you don't. But it is definitely it's
not your stereotypical standards straight up rock and roll. It's
(46:12):
very out there, right.
Speaker 21 (46:14):
Yeah.
Speaker 1 (46:15):
How often does Crank and Wagen play?
Speaker 21 (46:17):
Do you? Guys play a lot?
Speaker 23 (46:18):
Fairly and frequently really, And that's deliberate. We're trying to
what we do when we play live. We're trying to
theme our sets. So the last several shows we've had
have had different themes that we've stuck to. So when
we the last show we did prior to this, it
was Jurassic Park themed, Oh Wow, and we did the motif.
(46:40):
We played the John Williams motif in three different keys
throughout the throughout the sets so that we would transition
seamlessly into other songs. But we we did that John
Williams motif and that again, like rock bands that will
just put John Williams into their sets like that, it
(47:01):
just you don't hear about that. It doesn't happen, and
we just do it because we can because musically we
all have the ability, and we think it serves the songs,
it serves the set and delivers a creative and interesting
product to the people who are there in the audience.
(47:21):
And we don't want to we don't want to be
delivering just sets where it's like stopping in between every
song and you know, we're like leaving dead air. We
want to be really making people surprise. It's like, oh,
they went into that song immediately, like what, how do
they even do that? And we want to create that
(47:43):
magic and to do that we need more time in
between shows. We need to be able to construct the
sets really meticulously, get them where we want them to be.
And it's the same as recording. It's like, you know,
Santino's well aware of this led Zeppelin as a band,
and I would argue a lot of it is is
much more musically simple, especially the earliest stuff, but there
(48:06):
was a lot of the stuff from led Zeppelin that
they took a long time in between to really get
what they wanted for a musical idea right and feeling
the way that they want to convey that emotion, and
that is so important when you're doing something that is
musically intricate.
Speaker 1 (48:24):
But yeah, now that's that's really interesting to the concept of,
you know, making every show, you know, have a theme
and have it be different because that I don't I
can't think of anyone who really does that.
Speaker 21 (48:35):
Yeah, there's the top of my head.
Speaker 1 (48:36):
I can't think of any Yeah, there are some.
Speaker 23 (48:38):
Some bands that do themed shows and things like that,
and you know, bands that will dress up and costume
to do it. Sure where maybe the show itself, the
music itself is not themed, but but just the idea.
I forget when it was when we kind of started
doing that, but it was earlier this year, for sure.
It was at the beginning of this year, and I
think Paul just are just like, hey, let's do this
(49:00):
theme for Strange Creek, and we just dressed up that way.
We didn't really do much musically. Yeah, I guess we
put take Me Out to the Ballgame as an intro
for our first song called America's Pastime, which which is
a little bit of a play on words. But anyhow,
So we do things like that where we you know,
we inject interesting ideas and we try to make the
(49:23):
listener and the person who's in the audience think a
little bit more about the music because We've thought a
lot about the music.
Speaker 1 (49:30):
Yeah, now that's fantastic. When is the next Cranking Wagon show?
Do you have something coming around?
Speaker 23 (49:36):
So the Wagon? The Wagon is coming to I think
we're playing October tenth and eleventh. I think tenth is
in Rhode Island. I forget the exact venue. Sorry, sorry
to the listeners. October eleventh, though, is at Ralphs Rock
and Diner and Worcester and I believe we're going to
be playing with Bass Sabbath. That show is actually not
(49:57):
going to be super themed. However, we are going to
be doing some of the music of Pink Floyd We
One of the covers we used to do, which we've
kind of left out of recent sets was Sid Barrett
Eric Floyd we did. I was the name of that?
Speaker 9 (50:13):
In the.
Speaker 21 (50:15):
It went, uh, I forget the name. The name, Oh
my god, something a cat.
Speaker 5 (50:25):
Yeah.
Speaker 23 (50:26):
The lyric, yeah, it's in F sharp. I know all
the notes, something about like a devil. No, I forget
what the name of it is.
Speaker 21 (50:38):
Not thinking, I can't believe.
Speaker 23 (50:40):
I can't even quote the song, and I can play
Lucifer Yes, Yes, Lucifer Sam Yes, early Sid Barrett aera
Floyd So we're probably gonna reincorporate that along with some
other Pink Floyd classics that you know well. But so
that that show is a little bit of a one
off where we're doing more covers than we would normally do,
but we will still play originals and uh, you know
(51:02):
that the focus is always on the original.
Speaker 1 (51:04):
Yeah, so excellent. And what about playing Summer in the
Sky out like, did you if you had a chance
to play that out live? Or what what's their plans
to or I haven't thought about that.
Speaker 18 (51:15):
Yeah, so I mean I would like to assemble the
band of some time next year and maybe do some
some stuff like that, But for now, I'm just really
enjoying the recording of it and make sure it's a
good polished thing. And yeah, you know, in time, I
think it's totally possible, you know.
Speaker 23 (51:29):
Yeah, there's a lot of elements on that and to
do to do it live, to do it live without
horns or strings would be would be very.
Speaker 18 (51:37):
Difficult thing as possible, but definitely uh something to plan out,
and you know.
Speaker 1 (51:41):
It'd be hard to you know, I mean, if if pressed,
you could pull out an acoustic guitar.
Speaker 23 (51:46):
Exactly to do the harmony vocal stacks on it and
to really to really get the feel of.
Speaker 18 (51:52):
Yeah, getting a band together to do it somewhat justice
is totally possible even without things like you know, vocal
stacks or or strings, oorns or whatever. But yeah, it's
just it's finding the groove of it and finding everyone's
place in it, you know.
Speaker 1 (52:04):
Yeah.
Speaker 21 (52:05):
So yeah, totally is something that could happen for sure.
Speaker 23 (52:07):
Yeah yeah, I mean we certainly know people who are
musically good enough to make that happen about that doubt
so absolutely Yeah.
Speaker 21 (52:16):
Yeah.
Speaker 1 (52:16):
Uh, well, A time goes quickly, guys, and I do
want to play I think we're going to play that
song once more once more to end the segment.
Speaker 21 (52:22):
O great, great, thank you.
Speaker 1 (52:24):
What is there anything? Guy's got a lot going on.
I do want to make sure though, is there anything
coming up that you want to mention that we didn't.
Speaker 23 (52:30):
Talk about or well, I will say, if you're local
to New Hampshire and you want to come see me tomorrow,
I'm going to be in Milford, New Hampshire doing a
blues jam something totally different. Wow, we open open everyone.
I do that with Craig Thomas the second Sunday of
every month out at Riley's Place in Milford, Okay, and
it's a fantastic jam. You can pretty much come and
(52:51):
play anything, though it is more blues focused, and I
would love to see people there and play with you
because I love meeting all kinds of local musicians, especially
people were passionate about crazy and wild music. But yeah,
come on out have some fun.
Speaker 21 (53:08):
That that's me. I know.
Speaker 23 (53:09):
Tino's got his own schedules.
Speaker 18 (53:10):
So yeah, after yesterday the show we played, we were
talking about earlier, we're finally getting a nice break. So
as of now I can't think of anything. So I
get to maybe sleep a little bit or record some more.
So yeah, but maybe I'll check out that blues jam
that Caleb's doing too.
Speaker 1 (53:27):
You know what's funny as on a side about Milford,
So Milford for for for people listening online from other
parts of the country, Milford, New Hampshire, it's just this town.
It's not like a big metropolitan area, right, It's just
a small town in New Hampshire. But for whatever reason,
like Milford comes up on the show all the time
and it sounds like like there's just a lot going
(53:49):
on There's it's so weird.
Speaker 23 (53:52):
It's like, there's so many there's so many places in town,
in that town that have live music. And it's because
the people in and around that little kind of part
of that valley, sow he Can Valley just they love
local music and they love all kinds of different stuff.
But I will say they do it for proclivity to blues,
no question. Yeah, the age and the demographic there's a
(54:13):
lot for blues musicians there, but yeah, for just about everything.
They have so much diverse wild Yeah, it's great. It's
awesome to see.
Speaker 1 (54:22):
Yeah, it is, Yeah, it is. Yeah, you don't expect it,
but yeah, Milford comes up all the time on the show, Caleb.
Where is the best place for people go online to
keep up with everything that Hatchet Acts and Saw Records
is doing?
Speaker 23 (54:34):
Hatchet Action Saws on Facebook. We do not yet have
a website, but you can find us on Facebook Hatchet
Actions and Saw Records, And I believe we're getting some
other social set up where you know, we're a little
bit slacking on the socials, but we are. We're not
slacking on the music.
Speaker 1 (54:50):
Oh that's for sure.
Speaker 21 (54:50):
That's for sure.
Speaker 1 (54:51):
Yeah. Yeah. And Santino, where should people go? Well, the
single of course, is on all the platforms right, all
the streaming platforms, somewhere in the sky. Where else should
people go to keep up with everything that you're doing?
Speaker 21 (55:02):
I have I have a Facebook page, Instagram page. Is
my name?
Speaker 18 (55:07):
Yeah, yeah, there's the basic things for sure. You want
to spell your last name for people who don't, Yes,
D E, capital M O N T E. Very good
and now I know how to say it tracktly. Guys,
this has been wonderful. Thank you both so much. Thank
you great.
Speaker 1 (55:22):
Absolutely, we'll definitely do this again in the future, and
I think too, we're gonna We're gonna see Caleb on
the podcast version of the show at some point in
your future too. But we will end this segment with this.
We're gonna play this again, Summer in the Sky, the
debut single from Santino di Monty as a solo artist
on Hatchet Acts and Saw Records. So this is really good.
If you missed it earlier, we're gonna play this again,
and if you are listening live on Saturday. Coming up
(55:44):
next hour, we have Keith sam Land and his project
Alien Stone. He's going to be joining us via Microsoft Teams,
so really looking forward to talking with him. He's got
a really interesting sound. Uh so uh, there is plenty
more to come, but right now here it is summer
in the sky. This is Santino Demantis.
Speaker 8 (56:04):
And sounder dating that so long by pussion that's in
the un stain, and the sound so rogan.
Speaker 5 (56:13):
It colors the world. But the sound of the music play.
Speaker 8 (56:19):
And up gown and borrow they running up. That's a
long sound scorn, and it's another. It is sun in
(56:44):
the sky.
Speaker 5 (56:52):
Scor so.
Speaker 8 (57:02):
Go away with the dream.
Speaker 19 (57:04):
The sons of Rod, the dress, the deific prefet to
dreams that the dams, the huge streams.
Speaker 5 (57:17):
The same season stream woman stone face.
Speaker 12 (57:22):
But that.
Speaker 6 (57:29):
So s.
Speaker 5 (57:39):
The sun in the snore song in the store, So.
Speaker 8 (57:57):
Snot so.
Speaker 12 (58:23):
S S.
Speaker 21 (58:30):
S called
Speaker 23 (58:37):
S
Right now, the world radio premiere of the new single
from f This is called My Prettiest Mistake.
Speaker 2 (00:10):
You're listening to wumin world premiere.
Speaker 3 (00:29):
And in a mod and that it's warming outside. I'm
craving a cars following that WROP this night a shirt
of the better.
Speaker 4 (00:42):
But I expect to suit guys. Oh, I was to
gather the oh okays.
Speaker 5 (00:48):
They not.
Speaker 6 (00:52):
Let me.
Speaker 5 (00:57):
Have a made you pro My priend is missed.
Speaker 4 (01:14):
They found my person.
Speaker 3 (01:17):
Take me back to the mom kid stock.
Speaker 7 (01:22):
Side that I loved, sides fast to the spot change
in my mom talk lead men.
Speaker 8 (01:39):
Have a miss.
Speaker 4 (01:43):
From Oh tell me what I'm missing?
Speaker 3 (01:55):
Somebody took my position and cass that's boy.
Speaker 4 (02:00):
Your sister away. I can listen a Hobey card you
think in one day I by them that the sorta
out and riding.
Speaker 5 (02:11):
They find no.
Speaker 9 (02:12):
Way to ficture that sell me a says somebody took
about the session. It jas us by your sister the
way with the actual listen hob becaud till one day
I'm not done there that the song I'm riding, They
(02:33):
find the way.
Speaker 5 (02:34):
The fitture.
Speaker 1 (03:40):
Right now, the world radio premiere of the new single
from Tuesday Night whites. This is called time.
Speaker 2 (03:48):
You are listening to W M and H World Premiere, Black.
Speaker 10 (04:22):
Sye on the window sill he works in his phones
eights some people still in mind, name and days where
he shot out the seventh son, the black south of
half his days.
Speaker 6 (04:35):
Can't remember the dreams he used.
Speaker 10 (04:37):
To parade by signs don up, just remember to fire
the gun.
Speaker 6 (04:45):
He said. Time is like a mind you step to
send you up, but you.
Speaker 11 (04:51):
Far too good for this out saw the phone looked,
because you're far too talk through this town, because you're
(05:16):
far too taught first town.
Speaker 6 (05:19):
Does she dream of.
Speaker 10 (05:20):
A better life while love came first to as a
family strife on the bath? Does he chose seems not
bounce the fire within? Does she face with those things
on small though sadly Salmas on the factory floor that
she believes as up Remember it a load the gun,
(05:42):
she said, Time is like him mind.
Speaker 6 (05:44):
You was there to send you, but you far too
cut through solf.
Speaker 12 (05:52):
Sot look your program this time.
Speaker 5 (06:13):
Protra time.
Speaker 13 (06:39):
Because time is like you can't monthy start to send you,
but you far to go for this time. Because time
is like you can't mindy start ton snd you you
far to go for this time.
Speaker 14 (07:00):
So don't mutter. She falls you go s soun don't look.
Speaker 12 (07:21):
Cause you fot sa don't sound don't.
Speaker 15 (07:32):
Because you don't spy sound myself, because you don't prefer yourself.
Speaker 5 (07:48):
She said, time's gonna turn.
Speaker 12 (07:50):
My f canste the sound me to mister.
Speaker 14 (08:01):
My field.
Speaker 16 (08:38):
You're listening to Matt Connerton Unleashed on wm n H
ninety five point three.
Speaker 1 (08:45):
Now it's the American radio premiere of the Way We're
Rolling by Lydia. Ready, I can not act this.
Speaker 4 (08:59):
I like that.
Speaker 17 (09:01):
It doesn't matter out of the week because I exist
for me. I can walk or I can't trash. It
doesn't matter other way because I talk for me.
Speaker 12 (09:12):
Chatter sense shuts my purpose.
Speaker 6 (09:16):
You are so perfect, even if you don't over it.
Speaker 17 (09:19):
Oh my beer co comment shoulder all the way I'm commenting,
And this is just the.
Speaker 4 (09:25):
Way we're rolling. This is just the way we're rolling.
I can sit down, no stand up top. That is
just the way it's kind of go. So I'll be
(09:46):
me and you'll be you.
Speaker 17 (09:50):
That is what we've kind of you to try to
get through you chats with sister shuts my purpose.
Speaker 8 (09:57):
You are some perfect even if your dog, call my
pelf common.
Speaker 5 (10:02):
Shoulder all the way I comfort that this is just
the way were rolling. Yeah, this is just the way
we're rolling.
Speaker 6 (10:15):
Yeah.
Speaker 17 (10:16):
Yeah, someone just hurt you.
Speaker 18 (10:22):
This will hurt you.
Speaker 17 (10:24):
Turn over, think kid, They don't you, sir, know that
you'll come through everything there you do be your own person.
Speaker 12 (10:32):
Thereby for you.
Speaker 5 (10:38):
Ye livel follow you. You gotta leave.
Speaker 12 (10:48):
Shadsman, sisir shots my cother.
Speaker 19 (10:52):
You're some perfect even if your jo told a a
peep on the shoulder for the way I covered.
Speaker 12 (11:02):
Jenas Jess.
Speaker 5 (11:07):
If you don't know, oh show and this is just
the lad.
Speaker 1 (11:20):
This is just the la.
Speaker 4 (11:27):
This is just the la.
Speaker 16 (11:41):
You are listening to macconnorton Unleashed on wm n H
ninety five point three.
Speaker 1 (11:47):
And finally, the American radio premiere of the new single
from Kyle Gordon. This is called She Chose Me.
Speaker 20 (12:36):
If the skies are gray, when the day is night,
I can't find my way. If the day is night,
it's homeless. Let me shine your skies part of me.
I still on the stand. We sing that every night,
(13:02):
all the hiving time. We don't always get it right.
Speaker 8 (13:11):
Don't know my dog no, no, don't know why she
chugs me.
Speaker 5 (13:27):
Why sh't chose me.
Speaker 4 (13:47):
If you're far away?
Speaker 20 (13:49):
When the day is nine, I remain the same, just
like black and why we should not a summer?
Speaker 21 (13:58):
Just why I mean to.
Speaker 14 (14:00):
The part of me.
Speaker 20 (14:02):
I still don't understand we had in bed e men.
No need to turn up the line. Always share it time.
We don't always get it right. I just want to
(14:24):
get it right.
Speaker 5 (14:25):
It's not.
Speaker 8 (14:30):
No, no, she jumps me.
Speaker 5 (14:44):
Don't take the siss.
Speaker 22 (15:05):
The spect speaking set spect.
Speaker 8 (15:30):
Step outside of such.
Speaker 1 (16:39):
Welcome everybody, Here we go. It is that time again,
Matt Connorton Unleashed and we are live bringing you a
bunch of new music to start the show today, and
you might hear that again later in the show. Of course,
we've got the next few hours with you if you
are listening live on Saturday morning. Matt Connorton Unleashed from
the studios of wm n H ninety five point three
FM and Glorious man Esther in New Hampshire. Today is
(17:02):
a Saturday, September thirteen, twenty twenty five, and I am
not alone.
Speaker 23 (17:14):
Jenny, Good morning, Sunshine.
Speaker 1 (17:20):
Jenny is here at the news table four. I am yes, yes,
covered from my last week to DC yes, thank you,
and uh, we got a couple of other fine people
here in studio with us. Get those mics up here. So,
one of whom has been on the show recently, Caleb Dyer, returns. Hello, Caleb, Hello, Hello,
(17:41):
welcome back. It is good to see you.
Speaker 21 (17:43):
Yeah, good to see you as well.
Speaker 1 (17:44):
And you brought with you someone whose music we recently
did a world radio premiere for. Yes, Santino Demante is here.
Speaker 21 (17:52):
Hello.
Speaker 1 (17:52):
Now that I know, now that I know how to
say your name correctly, I apologize. I think the day
we premiered the song, I was saying Demante.
Speaker 21 (17:59):
It works not out, but it's Demanty perfect.
Speaker 1 (18:02):
Yes, yes, So I'm glad we cleared that up, because
I do try to get everyone's names correctly. I know
what it's like to have people struggle with, you know,
because my last name is very unusual. So in fact,
in high school, my nickname was Canarton because the first
day of school, the teachers they would, you know, they'd
do the roll call and they'd get to my name
and they'd inevitably they would all say Canarton, And so
(18:24):
all my friends just started calling me that. But man,
I got so used to it that even today, if
someone mispronounces it, it takes me a second to remember
to correct them right because I'm so used to it.
But we did the world radio premiere for your debut single, Yes,
Summer in the Sky, not only your first single as
a solo artist, correct, but the inaugural release on Hatchet At.
Speaker 23 (18:49):
It's a mouthful hatchet acs and saw. But yes, it
was our very first release. We're very proud of it.
There's hopefully much more to come from the company. And yeah, no,
I mean we poured our heart and soul into it.
We we finished that tune in thirty days, which was
an accelerated schedule for sure. Yeah, but we we put
in just as much time and care and attention as
(19:11):
we would any other project. And yeah, it came I
thought it came out excellent. I could hear every element
that I wanted to in it, and yeah, yeah, yeah.
Speaker 1 (19:21):
The production is great.
Speaker 21 (19:23):
Thank you.
Speaker 1 (19:24):
How involved are you so you're you're completely Why do
you do? Do you engineer the track?
Speaker 23 (19:30):
And so for this, for this particular project with Tino,
it was it was just Santino and myself. I was
the principal engineer and then after we you know, got
the tracks, after we recorded everything. We really sat down
and we got to you know, putting a mix on
it and getting the levels correct, and then you know,
through to the mastering process. We did everything in house.
(19:52):
Originally when the when the company was founded, we originally
thought that we were going to have to kind of
outsource some of the mastering, Yeah, just just to make
things easier on us. But we purchased some software and
we're imminently gonna be probably purchasing some more hardware that
will make it even easier for us to do everything
in house.
Speaker 1 (20:11):
So that's something I didn't realize. So you so you
mastered this?
Speaker 21 (20:14):
Yes?
Speaker 23 (20:15):
This was uh, I mean well it was actually cooperatively
I would say, mastered by Santino and myself. He was
still involved down to the wire, right, right, so when
we finished the tune. Uh, Santino was the person who
made the final edits. So well, yes, I did apply
the the effectuation right, the compression and equalization on the
(20:35):
main you know, it was tweaked and it was dealt
with by both of us.
Speaker 1 (20:40):
Okay, okay, outstanding, And uh, now what's kind of the plan,
like do you have more?
Speaker 21 (20:46):
Are you?
Speaker 1 (20:46):
Are you just gonna release more singles? Or do you
have an album or an EP and the works or what.
Speaker 21 (20:51):
I would like to do?
Speaker 18 (20:52):
So right now plan we have an EP for next
spring probably excellent, excellent, So we're gonna spend some time
work on that and spend some time this time.
Speaker 23 (21:00):
Yeah, it's going to be a little bit more drawn out,
and I don't know exactly how many songs that it
was four or five, five I believe, and in one
of one of those songs will be recycling of somewhere
in this Guy, So it's four additional and then somewhere
in this Guy will be re released with the cool
EP collection. So yeah, and there might be slight changes
but I don't think very much will change concerning it.
(21:23):
You never know, you never know, right, Yeah, we're going
to obviously, when we release any collection of works, we
listen back to each of them to make sure not
only there's cohesivity between you know, each song, but that
there's you know, continuity, right, that it feels good listening
to it as if it was an album, right, you know.
(21:45):
And and now I understand EPs can be diverse and
you don't have to do that, but there is definitely
a sort of theme if you will, Yeah, yeah, and.
Speaker 1 (21:54):
And something too that you know, you and Jesse when
when you and Jesse Rutstine were here, you very clear
that with with the label Hatchet Acts and saw I
did it, I do. Jenny's heard me trip on it
a thousand times that that uh, you know, you're you're
really taking your time. And actually we were talking about
(22:14):
it a little bit off air too before the show.
You're really uh committed to making sure that everything's right.
It's not just because sometimes people start something like a
label or some other endeavor and they, uh, you know,
they just kind of throw a lot of stuff against
the wall and see what sticks.
Speaker 23 (22:29):
Very very haphazard. This this company certainly not doing that.
The first two artists we signed, Santino and then Sarah Bird,
who's actually one of Santino's colleagues, played with uh with
Santino yesterday with Dog a Dog excellent and you know
Sarah's tune. I can't wait to release that to the world.
It's so musically interesting really and actually so in the
(22:52):
same way where I principally engineered and you know, mixed
and assisted with mastering Tino's tune, Jesse is to be
working with Bird. So this is kind of we divide
the labor right now kind of in this way, some
of the mixing and mastering on birds tune might be me.
I don't know exactly you know what's going to happen
(23:14):
right now because they haven't finished tracking everything just yet.
But once all is finalized, then you know, we have
the discussion of like, okay, how we move forward. And
in every instance, the artist is the principal creative director
of course, this is this is how it goes, and
we have to as producers, we have to effectuate the
artist's intent. So you know, if I'm brought in to
(23:36):
do anything, it's going to be with Bird. It's going
to be with her as kind of directing me, guiding me.
You know, what she wants in the tune. I've listened
to the tune plenty, but you know I can't be her,
I can't be in her mind. So I need to
and that that's part of doing this I what I
consider to be the right way, where you know, there
are many recording companies and stuff where they will tell
(23:59):
the artists like, oh, you need to write something that's saleable,
you need to write something that that we you know,
feel strong and confident in promoting and we frankly just
don't care. Will you know, if it's original, if it's
if it if we think it's good, if we think
that the musicality is there, will produce it, and you know,
we we'll we'll follow your direction. And I think that
(24:22):
is something that is sorely lacking and missing in our
musical culture in general. Yea, you know there to some degree,
once you have enough money, you can buy creative freedom
of us. There's a lot of there's a lot of
creative direction that that comes in some of these companies.
We're entirely antithetical.
Speaker 1 (24:41):
Yeah, no, I think that's that's excellent. Well, I think
we should let's play the track Summer in the Sky
for anyone who hasn't heard it yet. And of course
this is out on all the streaming platforms and everything,
and anything we should know before we play it, anything
we should know about the song itself. Uh, Santino, do
you have anything you want to.
Speaker 18 (24:56):
It's a it's a tribute to Brian Wilson. Yeah, you know,
well I want to do something for him. I'm not
normally a singer, but I tried it for this one.
And you know, we'll see how that goes. But I
just wanted to I want to just make something for
him because he only passed away in July. And yep,
that's really it's just a feel good uh tune. I
don't even notice about It's about summer.
Speaker 1 (25:16):
My favorite time of year. So I I like, of
course the sky right, very good. So without further ado,
we'll give this a spin and then we'll come back
and talk with these guys some more. But here it is.
This is Summer in the Sky, Santino Demanti.
Speaker 5 (25:42):
The sound of the music, Mother, Mother, it s the snore,
(26:17):
so the snore, So.
Speaker 8 (26:29):
Go away with the dream sons, Roddy, the dreams, the
Indian perfect. I did dreams that the day abouts did
the shoe streams the same season stream mollen Stone.
Speaker 6 (26:50):
But that thing.
Speaker 5 (26:56):
So it's sun.
Speaker 23 (27:08):
Stop so in the store, so.
Speaker 5 (27:24):
Stops and stop.
Speaker 1 (27:56):
So scot, Oh, that is so good, Summer in the Sky.
Speaker 21 (28:13):
Thank you.
Speaker 1 (28:14):
The debut release from Santino Demonti, and of course the
debut release from Hatchet Acts and Saw Records. And we
have both the Santino and Caleb Dyer from Hatchet Acts
and Saw See Now that I can say.
Speaker 21 (28:28):
At I know it is. It is a mouthful.
Speaker 1 (28:31):
No, it's a great name though. I love it. I
love it, and uh, you and you and Jesse shared
how you came up with the name and everything, uh
when you were on and that was that was really interesting.
But I'm also so I'm curious about the production of
the track because you know, it's got that you know,
it's got an old school vibe, you know, and as
you said, Santino, it's a tribute to Brian Wilson in effect.
(28:53):
How hard was it to get because that's that's a
tricky thing, right, to get that that kind of sound
and that vibe vibe without screwing it up. Because you
got it. You want to get that sound in that vibe,
but you also need to make it sound you know,
right modern.
Speaker 23 (29:09):
In the wise words of SpongeBob technique. Technique technique. It's
all about technique. And if you know how these things
were originally done, you can reverse engineer them. Okay, It's
it's pretty pretty much that simple. I will say we
did on some things we used more modern techniques. So
for example, the drum captures are not recorded in the
(29:30):
same way that they would have been recorded back in
that time. But that was done deliberately because we wanted
to add certain textures and overlay things. So there were
certain things that were not kind of those old techniques,
but actually a lot of what we did for the guitars,
like the signal chains, a lot of what we did,
(29:52):
you know, on the actual mastering of it, the actually
the software emulations that we use, because you know, we
are working digitally for the vast majority of everything, with
the exception of the actual signal going into the digital path.
But even on the digital side, the software emulations that
we were using were very much tools or emulations of
tools that would be from that era, and some of
(30:14):
them sounded better than others. So we we you know,
gravitated towards what to our years felt right, but really
it was it was technique. That's really just it. If
you again, if you know how they did it, you
can reverse engineer it.
Speaker 21 (30:29):
Okay.
Speaker 1 (30:29):
Yeah, Is that the most challenging thing you've done as
far as recording?
Speaker 23 (30:33):
Oh no, not even close. No, really, ok yeah, I
mean it's of as of late, it's uh, it's you know,
it's more interesting. But I would say the most challenging
things to record was some of my own stuff and
and and I mean none of that's been released, but yeah,
that's a that's a totally different discussion. Yeah, but yeah,
(30:55):
some of that was was extraordinarily difficult to kind of
get what it should sound like because you know, the
different techniques available to you, the different sorts of microphones,
placement of microphones, all different manners of waves of capturing sound,
and then all of the ways to process sound, and
you have to get to get the right sound, you
(31:17):
have to get both of those things correct.
Speaker 1 (31:19):
So Santino, when you did you write the song yourself?
You Yeah, when you came up with the song, did
the did what ended up being the song the finished product?
Did that match what you had in your head?
Speaker 4 (31:33):
Or was it?
Speaker 9 (31:34):
Was it?
Speaker 1 (31:34):
I mean I imagine it was probably even better, right.
Speaker 18 (31:36):
But well so kind of because like I wrote it
on piano like months ago, probably Okay, in my head,
I'd like, you know, one by one kind of like
imagine like what would make sense for it to be there,
or like what I imagine it to be there?
Speaker 21 (31:49):
Right?
Speaker 18 (31:49):
Yeah, And for so long, like such a long time
of having to be able to sort of like process
like what should be there, Like when we started recording it.
I feel like it just kind of fell in place,
and there were elements I think that are different, but
you know, a lot of it was just.
Speaker 21 (32:08):
Very good.
Speaker 4 (32:09):
Yeah.
Speaker 23 (32:09):
It was just what are we feeling? Or actually what
Tina was feeling. Because I didn't play a single note
on this. Everything that was done was Tina And which
is interesting because there there have been people that have
you know, worked with where you know, I've assisted of
done things where you know, like hey, play based on
it or something like that. Yeah, and you know that's cool,
(32:30):
but I try as much as possible, I want the
artist's intent to be effectuated by whatever we're doing.
Speaker 21 (32:37):
Yeah.
Speaker 18 (32:37):
I also think it depends on who comes in with
a specific mindset, like would you like the producer to
take more charge or maybe have someone else add some
more ideas. And I guess since I had so much
time to do nothing else to think of it, it
was so specific, and I thought that just doing it
myself would give it that specific tention.
Speaker 23 (32:52):
He came in with a super clear creative direction and
that made what I was doing easy. I mean, truly,
it was just it was about, Okay, now all I
have to do is on the recording side of it.
Suggests techniques that will effectuate that intent. He told me.
He told me coming in. Basically, it's a tribute to
Brian Wilson, his life and his memory and how it
(33:13):
affected him musically.
Speaker 18 (33:15):
Yeah, yeah, and I will say that to cut you off,
but I just think that the help that you gave
me a singing primarily. I think Caleb is a very
good coach in vocals. I've learned a lot singing from him,
whereas I may have had some things a little more
like you know, experience just doing certain things. But like
I think singing has been a big thing that Caleb
could help anyone with.
Speaker 23 (33:34):
You know, I certainly try. My only musical training is
on voice in the hear. I never was trained on
any of the other instruments or very briefly piano lessons.
But I stopped that when I realized that I knew
more musically than the teacher did, wow, which that is strangely,
and I tried to find I tried to find another teacher,
(33:55):
and I just was kind of disappointed once that I
was seeking out. But with regards to voice and ear,
I mean as my first things that I did was
doing vocal arrangements in high school. And you know, while
I don't really sing very much now, I sing on
my own unreleased things, but I don't sing much anymore
(34:18):
in any of the groups I'm in, except for maybe
some backups. But yeah, I encourage if vocalists are coming
in and doing work with us. I can certainly, and
I'm not gonna be pushy, but some things are universal
in a recorded context, like you need to enunciate, you know,
clear things unless you want to slur your lyrics. But
(34:42):
you know, I yeah, anyhow, I love working with certainly
Santino and anyone else who's coming in to do work
with us, and you know, guide them through the process
of here's how we get the sound right, because you're
creating the sound, but to get it to sound like
you want on our record, it requires a whole separate
(35:02):
set of science and and that's the part that I
think a lot of gigging musicians kind of miss.
Speaker 1 (35:08):
Yeah. Yeah, well said I'm curious sus Santino about uh,
tell us a little bit more about your affinity for
Brian Wilson and.
Speaker 21 (35:16):
Is he is he likely?
Speaker 23 (35:18):
Is he?
Speaker 20 (35:19):
Is he?
Speaker 1 (35:19):
Is he your biggest influence or is he?
Speaker 21 (35:21):
Yeah?
Speaker 18 (35:21):
Yeah, I love Jimmy Page. Definitely Jimmy Hendrix. Oh yeah,
but I mean, uh, fellow left handed guy. I appreciate
Hendricks very much, that's right. But in my last couple
of years, I think I've really, I've really been taken
aback almost by Brian Wilson. Uh, and just his capability
as a as a just all around musician, I guess,
(35:43):
and arrange your composer things like that. Yeah, and yeah,
like I never heard anything, you know, like like it
before a lot of people know the Beach Boys for
kind of the surf rock thing, but uh, there's really
really complex arrangements.
Speaker 21 (35:57):
That he's done. Like if you listen pet sounds sound speaking.
Speaker 23 (36:02):
Of vocal arrangements, Speaking of vocal arrangements, I mean, I've
said this for some time and I can't take credit.
I don't know who can take credit for saying this first.
But the Beach Boys weren't so much a surf rock
group as they were like a barber shop quartet, exactly
rock band behind him and and it you know, that
stuff is magical. I mean, very few people are trying
(36:25):
to do anything like that anymore. And when Fantino came
with this project and he's like, I want to do
some crazy vocal stacks as of someone who you know,
comes from a vocal arranging background. And I didn't even
have to arrange it, right, Yeah, I didn't even have
to do any of this. He just comes in there
and he hears all the notes in the harmonic series
that he wants to hit, and he's just like, all right,
(36:46):
there it is.
Speaker 18 (36:46):
Yeah, man, it's just it's a fun time. It's just
it's fun more than anything, you know, to put something
out there, you know, it means a lot. So I'm
appreciative for sure.
Speaker 1 (36:55):
Had you ever done anything like this before, because obviously,
you know you've done other projects and well and minute
we'll talk about the other the band that you guys
have together, But had you ever done anything like that
before that? That really kind of serves as such a
fantastic tribute to Bran Wilson.
Speaker 21 (37:11):
Thank you.
Speaker 18 (37:13):
I've written tunes, you know, for this purpose. Well, I
guess in that regard, But this is the first time
that I've recorded it with a good friend of mine
in a good studio. You know, I think I've recorded
a billion demos and stuff, you know, anything like that, even.
Speaker 23 (37:28):
Demos with mego we we have some songs together. One
of them I think is going to get resurrected as
a song for Crank and Wagon pretty soon when tune
called the Fugitive, which I think is gonna eventually appear
on a concept album that Paul Fry is dreaming up
in his head. It's a collective effort, but it's definitely
(37:50):
mostly his creative vision in terms of the story, and
we're just following that intent because we think it's a
good idea. Yeah, we actually just did a show yesterday
at Wormtown out in Greenfield, mass We played the set
and it was space themed and the theme of the
just to this was as Crank and Wagon. Yes, this
Cranking Wagon where I play orgon for the listeners out there.
(38:13):
I play organ and occasionally some electric piano and stuff,
and mister Santino Demante plays percussion and drums, and Paul
Fries the guitar, and we had Nick Vortruba from Bass Sabbath,
which I'm wearing their shirts for all the all the
people watching out there wearing Bass Sabbath. He's in a
very nice tribute band, but he played bass with us
(38:33):
yesterday and it was fantastic. Oh wow, I you know,
I hope, uh, I hope he does more with us.
But even if even if not, even if it was
just a one off, it was still an excellent gig,
a great gig.
Speaker 1 (38:47):
Well, I'm curious to know more about because I haven't
actually heard crankin Wagon, so I'm curious to just to
know more about it, like what's.
Speaker 23 (38:53):
Like, what is it?
Speaker 18 (38:54):
It's a good fusion of like rock and some progressive
elements too. Oh yeah, yeah, so it makes is I
think it blends like maybe simpler rock and roll with
like a good interesting, sort of different flair. And you're
really a big part of the music in that, So
I think you could even attest to more of that,
you know, I think, you know, in my.
Speaker 23 (39:15):
View, and you know, Paul has his own influences that
he brings to the table, but in my view, the
influences that I'm bringing are sort of that seventies progressive rock, Emerson,
Lake and Palmer. Of course, I'm a massive Keith Emerson fan.
Yesterday we covered a deep purple tune. We covered Space
Truck in Nice, which was heavy, man, absolutely heavy, And
(39:38):
you know, I'm a massive John Lord fan. Yesterday at
the gig, I wore a Boston shirt. Tom Schultz is
another musical hero of mine on the organ, and I mean,
if you listen to that music, you know, if you
listen to all of that in the way that the
organ drives it in his central to the rock and
roll and the classical elements. Even yesterday we opened up
(40:01):
the show with Son Andolfgang, but Tay God stalls. We
opened up a rock show with a classical piece, right,
and you know, like you you don't hear that in
like I've I've literally in the last decade, I've not
heard another band doing something musically ambitious like that. And
(40:24):
then the way that we plan transitions between songs and
everything else we do is original. We usually throw in
one cover for the people, but everything else we do
is original. And I mean we play with the time signatures.
We you know, even do some tempo play as well,
where we kind of will drag things and be a
little bit timmy whimy, But it's all deliberate. It's not
(40:45):
it's not like it was not meant to be there.
It's very very meticulously placed and and that I think
is what separates that musical group from a lot of
other ones that you'll hear it's it's just very it's
very deliberate, very composed.
Speaker 1 (41:04):
Now, how long has Crank and Wagon been around? How
long have you been?
Speaker 23 (41:07):
Only about a year? I mean a little over a year.
But it's had various forms, and I'd actually like to
show appreciation to some of the past members because I
mean they, you know, they did excellent things with it
and it's just continued on. But the original drummer was
Cam Clark and he's a fantastic drummer. He's continuing to
(41:28):
do other things now, not exactly sure what he's up to,
but Cam Clark was with us, and then for a
period of time earlier this year, we had Chris Drew
play play a number gigs. He's the bass player in
Dog a Dog, which of course it's a natural, natural
flow over for him to be playing with us. Then
we did a three piece gig where it was just
(41:48):
me left handing the bass. Really yeah, yeah, And I
mean that's the cool dynamic thing about the Wagon is
that you know, we can play a gig is a
three piece with no bass player, or we can add
a bass player and have all of this texture and
you know it, we can do whatever we want to
do musically really yeah, and and and that sort of
(42:08):
creative liberty is I think it's it's getting much more rare.
I think a lot of musicians put themselves into a box.
They don't need to. I think they they think that
all these odd time signatures, these different you know, ways
to feel music and to convey emotion with music. I
think they feel almost like, oh, it's too wacky, it's
(42:29):
too scary, and and like different, and like what if
we don't execute it right? And you know what if
it doesn't And you know, all of these things exist
within musicians heads. They just need to bite in overpower. Yeah,
And you know Crank and Wagon is that it is fearless,
absolutely fearless. You know, we'll we'll have like a nice
(42:51):
rock and groovy section one time, and then all of
a sudden we'll break into five, or we'll break into
seven eight, or you know, or Will will insert a
random measure of nine to eight just because we can
in already an odd time sequence. And and Tino does
exactly what I'm referencing, because he was the one. But
(43:12):
you know, we we just we play with every element
of the music that we can make it interesting. And
something that the listener just doesn't expect, And and that's
what I value in musical compositions, and I know Santino
does as well.
Speaker 18 (43:27):
Absolutely, Yeah, And then what's the plan as far as recording?
Oh so well, hopefully pretty soon. You might know more
than I do actually at this point kind of.
Speaker 23 (43:37):
Sort of, I mean, but we've we've spoken about it
down there, so we have our nice little whiteboard with
our our plans, our evil plants.
Speaker 20 (43:44):
Yes.
Speaker 23 (43:44):
But anyhow, so coming soon is going to be an EP.
I believe it's going to be six songs. It's gonna
contain our self titled track, Crank and Wagon, and it
will have, you know, a few other morsels of things
that people who have seen us live have have already
kind of gotten to know. But it's that's going to
(44:05):
be mostly things that we wrote in the very beginning, okay,
and some one thing I think that was written a
little bit later, But most of it is original sort
of Crank and Wagon, the founding, the genesis of the band,
Paul Frye mostly his direction and writing in those songs.
And then once we complete that, once we put that out,
(44:25):
then we'll set work on the concept album that was
aforementioned that is mostly driven by Paul's creative direction in
terms of the story, but musically, I would say this
is where Santino and I sort of start to get
more aggressive in terms of how we color the ideas
of mister Frya. And in some of the writing is
(44:49):
is Zappa esque, some of it is Emerson, you know,
Keith Emerson and Emerson Lake and Palmer esque, and then
some of it is more in the vein of Paul
Frye and the you know, secure eighties kind of poland
vibe that he is going for. And the name Crank
and Wagon kind of comes for an affinity from this
(45:09):
post World War two sort of Cold War music from
the Eastern Bloc and even actually parts of Western Europe
as well, where it was unique, like not droning music,
but music that was born of the despair of living
(45:30):
in a place that was impoverished, oppressed, where you know,
people didn't have creative freedom. Really if you had it,
it was underground and it was not easy to share.
And that I think inspires all of us, all three
of us in the band, to varying degrees, but the
(45:50):
idea that we use this band as a vehicle for
exactly what we want to put out into the world
and that no one's going to tell us how we
should do it. And if you like it, you like.
If you don't, you don't. But it is definitely it's
not your stereotypical standards straight up rock and roll. It's
(46:12):
very out there, right.
Speaker 21 (46:14):
Yeah.
Speaker 1 (46:15):
How often does Crank and Wagen play?
Speaker 21 (46:17):
Do you? Guys play a lot?
Speaker 23 (46:18):
Fairly and frequently really, And that's deliberate. We're trying to
what we do when we play live. We're trying to
theme our sets. So the last several shows we've had
have had different themes that we've stuck to. So when
we the last show we did prior to this, it
was Jurassic Park themed, Oh Wow, and we did the motif.
(46:40):
We played the John Williams motif in three different keys
throughout the throughout the sets so that we would transition
seamlessly into other songs. But we we did that John
Williams motif and that again, like rock bands that will
just put John Williams into their sets like that, it
(47:01):
just you don't hear about that. It doesn't happen, and
we just do it because we can because musically we
all have the ability, and we think it serves the songs,
it serves the set and delivers a creative and interesting
product to the people who are there in the audience.
(47:21):
And we don't want to we don't want to be
delivering just sets where it's like stopping in between every
song and you know, we're like leaving dead air. We
want to be really making people surprise. It's like, oh,
they went into that song immediately, like what, how do
they even do that? And we want to create that
(47:43):
magic and to do that we need more time in
between shows. We need to be able to construct the
sets really meticulously, get them where we want them to be.
And it's the same as recording. It's like, you know,
Santino's well aware of this led Zeppelin as a band,
and I would argue a lot of it is is
much more musically simple, especially the earliest stuff, but there
(48:06):
was a lot of the stuff from led Zeppelin that
they took a long time in between to really get
what they wanted for a musical idea right and feeling
the way that they want to convey that emotion, and
that is so important when you're doing something that is
musically intricate.
Speaker 1 (48:24):
But yeah, now that's that's really interesting to the concept of,
you know, making every show, you know, have a theme
and have it be different because that I don't I
can't think of anyone who really does that.
Speaker 21 (48:35):
Yeah, there's the top of my head.
Speaker 1 (48:36):
I can't think of any Yeah, there are some.
Speaker 23 (48:38):
Some bands that do themed shows and things like that,
and you know, bands that will dress up and costume
to do it. Sure where maybe the show itself, the
music itself is not themed, but but just the idea.
I forget when it was when we kind of started
doing that, but it was earlier this year, for sure.
It was at the beginning of this year, and I
think Paul just are just like, hey, let's do this
(49:00):
theme for Strange Creek, and we just dressed up that way.
We didn't really do much musically. Yeah, I guess we
put take Me Out to the Ballgame as an intro
for our first song called America's Pastime, which which is
a little bit of a play on words. But anyhow,
So we do things like that where we you know,
we inject interesting ideas and we try to make the
(49:23):
listener and the person who's in the audience think a
little bit more about the music because We've thought a
lot about the music.
Speaker 1 (49:30):
Yeah, now that's fantastic. When is the next Cranking Wagon show?
Do you have something coming around?
Speaker 23 (49:36):
So the Wagon? The Wagon is coming to I think
we're playing October tenth and eleventh. I think tenth is
in Rhode Island. I forget the exact venue. Sorry, sorry
to the listeners. October eleventh, though, is at Ralphs Rock
and Diner and Worcester and I believe we're going to
be playing with Bass Sabbath. That show is actually not
(49:57):
going to be super themed. However, we are going to
be doing some of the music of Pink Floyd We
One of the covers we used to do, which we've
kind of left out of recent sets was Sid Barrett
Eric Floyd we did. I was the name of that?
Speaker 9 (50:13):
In the.
Speaker 21 (50:15):
It went, uh, I forget the name. The name, Oh
my god, something a cat.
Speaker 5 (50:25):
Yeah.
Speaker 23 (50:26):
The lyric, yeah, it's in F sharp. I know all
the notes, something about like a devil. No, I forget
what the name of it is.
Speaker 21 (50:38):
Not thinking, I can't believe.
Speaker 23 (50:40):
I can't even quote the song, and I can play
Lucifer Yes, Yes, Lucifer Sam Yes, early Sid Barrett aera
Floyd So we're probably gonna reincorporate that along with some
other Pink Floyd classics that you know well. But so
that that show is a little bit of a one
off where we're doing more covers than we would normally do,
but we will still play originals and uh, you know
(51:02):
that the focus is always on the original.
Speaker 1 (51:04):
Yeah, so excellent. And what about playing Summer in the
Sky out like, did you if you had a chance
to play that out live? Or what what's their plans
to or I haven't thought about that.
Speaker 18 (51:15):
Yeah, so I mean I would like to assemble the
band of some time next year and maybe do some
some stuff like that, But for now, I'm just really
enjoying the recording of it and make sure it's a
good polished thing. And yeah, you know, in time, I
think it's totally possible, you know.
Speaker 23 (51:29):
Yeah, there's a lot of elements on that and to
do to do it live, to do it live without
horns or strings would be would be very.
Speaker 18 (51:37):
Difficult thing as possible, but definitely uh something to plan out,
and you know.
Speaker 1 (51:41):
It'd be hard to you know, I mean, if if pressed,
you could pull out an acoustic guitar.
Speaker 23 (51:46):
Exactly to do the harmony vocal stacks on it and
to really to really get the feel of.
Speaker 18 (51:52):
Yeah, getting a band together to do it somewhat justice
is totally possible even without things like you know, vocal
stacks or or strings, oorns or whatever. But yeah, it's
just it's finding the groove of it and finding everyone's
place in it, you know.
Speaker 1 (52:04):
Yeah.
Speaker 21 (52:05):
So yeah, totally is something that could happen for sure.
Speaker 23 (52:07):
Yeah yeah, I mean we certainly know people who are
musically good enough to make that happen about that doubt
so absolutely Yeah.
Speaker 21 (52:16):
Yeah.
Speaker 1 (52:16):
Uh, well, A time goes quickly, guys, and I do
want to play I think we're going to play that
song once more once more to end the segment.
Speaker 21 (52:22):
O great, great, thank you.
Speaker 1 (52:24):
What is there anything? Guy's got a lot going on.
I do want to make sure though, is there anything
coming up that you want to mention that we didn't.
Speaker 23 (52:30):
Talk about or well, I will say, if you're local
to New Hampshire and you want to come see me tomorrow,
I'm going to be in Milford, New Hampshire doing a
blues jam something totally different. Wow, we open open everyone.
I do that with Craig Thomas the second Sunday of
every month out at Riley's Place in Milford, Okay, and
it's a fantastic jam. You can pretty much come and
(52:51):
play anything, though it is more blues focused, and I
would love to see people there and play with you
because I love meeting all kinds of local musicians, especially
people were passionate about crazy and wild music. But yeah,
come on out have some fun.
Speaker 21 (53:08):
That that's me. I know.
Speaker 23 (53:09):
Tino's got his own schedules.
Speaker 18 (53:10):
So yeah, after yesterday the show we played, we were
talking about earlier, we're finally getting a nice break. So
as of now I can't think of anything. So I
get to maybe sleep a little bit or record some more.
So yeah, but maybe I'll check out that blues jam
that Caleb's doing too.
Speaker 1 (53:27):
You know what's funny as on a side about Milford,
So Milford for for for people listening online from other
parts of the country, Milford, New Hampshire, it's just this town.
It's not like a big metropolitan area, right, It's just
a small town in New Hampshire. But for whatever reason,
like Milford comes up on the show all the time
and it sounds like like there's just a lot going
(53:49):
on There's it's so weird.
Speaker 23 (53:52):
It's like, there's so many there's so many places in town,
in that town that have live music. And it's because
the people in and around that little kind of part
of that valley, sow he Can Valley just they love
local music and they love all kinds of different stuff.
But I will say they do it for proclivity to blues,
no question. Yeah, the age and the demographic there's a
(54:13):
lot for blues musicians there, but yeah, for just about everything.
They have so much diverse wild Yeah, it's great. It's
awesome to see.
Speaker 1 (54:22):
Yeah, it is, Yeah, it is. Yeah, you don't expect it,
but yeah, Milford comes up all the time on the show, Caleb.
Where is the best place for people go online to
keep up with everything that Hatchet Acts and Saw Records
is doing?
Speaker 23 (54:34):
Hatchet Action Saws on Facebook. We do not yet have
a website, but you can find us on Facebook Hatchet
Actions and Saw Records, And I believe we're getting some
other social set up where you know, we're a little
bit slacking on the socials, but we are. We're not
slacking on the music.
Speaker 1 (54:50):
Oh that's for sure.
Speaker 21 (54:50):
That's for sure.
Speaker 1 (54:51):
Yeah. Yeah. And Santino, where should people go? Well, the
single of course, is on all the platforms right, all
the streaming platforms, somewhere in the sky. Where else should
people go to keep up with everything that you're doing?
Speaker 21 (55:02):
I have I have a Facebook page, Instagram page. Is
my name?
Speaker 18 (55:07):
Yeah, yeah, there's the basic things for sure. You want
to spell your last name for people who don't, Yes,
D E, capital M O N T E. Very good
and now I know how to say it tracktly. Guys,
this has been wonderful. Thank you both so much. Thank
you great.
Speaker 1 (55:22):
Absolutely, we'll definitely do this again in the future, and
I think too, we're gonna We're gonna see Caleb on
the podcast version of the show at some point in
your future too. But we will end this segment with this.
We're gonna play this again, Summer in the Sky, the
debut single from Santino di Monty as a solo artist
on Hatchet Acts and Saw Records. So this is really good.
If you missed it earlier, we're gonna play this again,
and if you are listening live on Saturday. Coming up
(55:44):
next hour, we have Keith sam Land and his project
Alien Stone. He's going to be joining us via Microsoft Teams,
so really looking forward to talking with him. He's got
a really interesting sound. Uh so uh, there is plenty
more to come, but right now here it is summer
in the sky. This is Santino Demantis.
Speaker 8 (56:04):
And sounder dating that so long by pussion that's in
the un stain, and the sound so rogan.
Speaker 5 (56:13):
It colors the world. But the sound of the music play.
Speaker 8 (56:19):
And up gown and borrow they running up. That's a
long sound scorn, and it's another. It is sun in
(56:44):
the sky.
Speaker 5 (56:52):
Scor so.
Speaker 8 (57:02):
Go away with the dream.
Speaker 19 (57:04):
The sons of Rod, the dress, the deific prefet to
dreams that the dams, the huge streams.
Speaker 5 (57:17):
The same season stream woman stone face.
Speaker 12 (57:22):
But that.
Speaker 6 (57:29):
So s.
Speaker 5 (57:39):
The sun in the snore song in the store, So.
Speaker 8 (57:57):
Snot so.
Speaker 12 (58:23):
S S.
Speaker 21 (58:30):
S called
Speaker 23 (58:37):
S
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