Latest / Unsigned518 / Unsigned518 - Episode 182 - Josh Casano

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Unsigned518 - Episode 182 - Josh Casano · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73 he loves punk rock music fighting the 13 jabbing the dazzle Jazz rock Now on the beat Guitar with a short with radio back his motherfucking envy scrolling look at motherfucker cuz here he comes Andy Sculling Wearing his or his.
• 0:26
  Speaker B: Hands all right, welcome to Unsigned518. I'm here with Josh Cassano. How's it going, man?
• 0:31
  Speaker C: That's going well.
• 0:32
  Speaker B: How are you? It is going very well. And you know, we, we talked a little bit before we got rolling. Kind of like how, how this is going to go and how it's really just like fucking shooting from the hip, you know, like. No, no planning, just like kind of a conversation. And I really. I just kind of want to know like your relationship with music and like how it got started and I guess that'll just get the conversation rolling and we'll go from there. Sure.
• 1:01
  Speaker C: My parents were really into music. My father especially. My father had a huge record collection. A lot of it was a lot of big band stuff, but he had a huge collection of like Beatles, like pre sergeant Pepper loved all the early stuff, right. Rubber Soul, this is the Beatles and things like that. And then Jim Croce, James Taylor kind of got me into it and he played guitar as well. So growing up, there was a piano, a guitar, a banjo, a mandolin. There's always stuff available to grab, right? So once I got a little older, I was. I was allowed to kind of touch that stuff and get my hands on it and it was awesome. It was a great escape from, you know, being in school, you know, growing up in Amsterdam and going to middle school and high school and, you know, nobody wants to go to middle school or high school. So playing guitar is a lot more fun.
• 1:51
  Speaker B: It is. And was guitar like, I mean, you know, you said like, you know, Beatles, obviously, Beatles, very guitar driven, especially the early, like pop stuff, but like, you know, Croce and James Taylor. So while there was like, you know, piano and guitar, was guitar always the focus or did you, did you dip into, into piano as well? Just because that's such an accessible.
• 2:14
  Speaker C: Yeah, my father, you know, as much as I. As much as I fought it as a kid and looking back, it was stupid, but my father insisted that we learn to play piano because it would be the best way to approach every other instrument. And I was like six. I was like, you don't know anything. I'm not doing this right. And so I fought it. But then like, so like fourth grade came around and, you know, People are like, what do you want to play? And I said, I want to play drums. So the next day I came home, and there was a trumpet on my bed. And I was like, what's that? My dad's like, it's a trumpet. I was like, okay.
• 2:46
  Speaker B: Was that another part of the puzzle to, like, learn? It was.
• 2:50
  Speaker C: It was. And I came to love it. You know, I played it in. In band and, know, fifth grade, sixth grade, seventh grade, eighth grade, ninth, tenth, eleventh, twelve. I played trumpet all the way through. I did jazz band 7. It was a lot of fun. I really came to love it. And that was another point where I probably should have been like, oh, my parents were right about this one, but I still thought it right. Thinking about it now, like, almost 50. I'm like, oh, yeah.
• 3:13
  Speaker A: So.
• 3:13
  Speaker C: And my sister played saxophone. And my sister. My sister was a hell of a sight reader. We. We both took piano lessons. She's just a couple years older than I am, and I always had to work at it. It was hard, but she came so easy to her. And it wasn't like a passion. It was just, like, she enjoyed it, and it was good focus, and she was super talented. But, yeah, so music was always in the house. Mom loved to listen to music and, you know, like, to sing in the kitchen when she was cooking and stuff. And I used to hang out with her, and she was a little more like, mom loved, like, Sam Cooke, Motown and, you know, like, some Muscle Shoals and stuff. But then she let country and then. So for me, that was like, early Garth Brooks, Kathy Mateo, things like that. Like, 18 wheels and a Dozen Roses kind of stuff. Like. So it was everywhere. It was bound to stay with me. So.
• 4:06
  Speaker B: Right. And, you know, like, playing piano, like. And, you know, you said trumpet, which made me, like, kind of jealous because I also played drums when I was younger, and my introduction to any instrument was like an organ that my grandmother played. And I could play that because when we would go see my grandmother, like, you can put headphones on when you're playing an organ. So, like, they would literally just be like, yeah, go ahead. Like, sit there quietly as far as we're concerned, and play with this organ for hours while we hang out and do adult stuff, because it wasn't bothering me, but, like, I wanted to play trumpet or saxophone, but I had asthma and I couldn't, you know, so it was like, I played drums. Not, like, I wasn't resistant to it, but it wasn't my first choice, which, you know, a lot of people, you know, Even young, you know, a lot of young boys are like, drums want to bang on things. And I was like, okay. And like, you know, I'm glad I did because it helps, you know, form a foundation. But I really wish that I had the lung power to play a trumpet. And currently in our punk band, I don't know if you knew, but we have a trumpet player, like Abby plays trumpet full time. Like, I love the goddamn trumpet and I could never play it.
• 5:24
  Speaker C: You know, horns are so much fun.
• 5:26
  Speaker B: They add so much, so much to anything. They not only add so much to anything, but they're in a lot of stuff that you don't even think about. And the same with piano. Like, there's almost no genre of music where a piano or horns will not fit in. Yeah, yeah, it doesn't exist. Like if you do it subtly enough or brash enough or whatever, it'll fit, it'll fit anywh know. So I love that. All right, so you've, you've got some piano, bass, you've obviously, you know, playing trumpet and you know, playing trumpet, how does that directly translate to guitar? Like, because I know, like, like are. Is the tuning different or scales different? Like how do they, you know, I know you can directly translate from a piano to a guitar, but like how does it work? Like trumpet wise?
• 6:17
  Speaker C: I mean, trumpet was B flat. Guitar couldn't be whatever we decided we want to tune them to. You know, I tune in standard E or E flat just because whatever fits my voice. But it was, it was helpful in really understanding like melodies and how to. When you really kind of sit down and want to write your own stuff, how do you want your vocal line to go? Well, how are some of the parts that we played in symphonic band or concert band? Like those trumpet one parts have the melody in certain sections. How did those work against everybody else? And you know, learning with a guitar, which I really did later on in life, like, I didn't really get a serious education until I was in my 30s. But, you know, you're writing parts for bass, you're writing parts for upper reg. Upper register instruments within your six strings and 20 frets, you know, so gives you an idea of that experience. Helps you when you try to fit. All right, how am I going to make that all sound the same? Put it on here.
• 7:13
  Speaker B: And so for you, when did this switch happen where you were like, kind of like, all right, I'm putting the trumpet down and picking up the, the guitar and kind of. When did that. Or do you still play trumpet?
• 7:25
  Speaker C: I Haven't played it in a while.
• 7:26
  Speaker B: Okay.
• 7:27
  Speaker C: When my. When my oldest was born in. In 2015, I'd say when she was like, one and a half, two, I brought it out, and she would walk around and just hold it and blow on it and get tone out of it. And so I started picking it up again and, you know, brought it to work a couple times and rain scales and stuff, but I haven't played it since.
• 7:46
  Speaker B: Right. So when. I guess when was the switch to. To guitar?
• 7:50
  Speaker C: Yeah. So probably when I got out of high school. I didn't really join a lot of ensembles after that. My. My path kind of diverged crazy into what happens after high school. I don't know. So it really was more focused on guitar. I got my own first guitar. God, I think my senior year of high school, my dad got me an acoustic guitar, and that was it. I just played that thing constantly. I sit next to the radio, put on my favorite CDs and play along and play along and. And figure it out. But I was still working in kitchens and stuff at that point.
• 8:28
  Speaker B: Right. And when did. When did, like, singing come into it? Because I know, like, a lot of people, like, you know, the singing can sometimes come from just, like, the fact that you don't have anybody to sing for you, because some people are like, I just want to play guitar, but, you know, it needs some vocals, and I don't have anybody to do it. So that's what, you know. Like, me, when I say some people, I mean me fucking in particular. Like, I just wanted to play guitar, but I needed somebody, you know, it made more sense to have somebody singing. So I just did it because no one else is there. And now I've kind of stepped way back, and now I'm on just guitar duty with less singing. That's where I'm happiest. But were you someone that always wanted to sing, or was it like a, hey, I need to do this?
• 9:13
  Speaker C: I mean, I always sang along with music whether it sounded good or not. And I know my family can attest to that on long car rides when I was little. But as I got older, my ear started to develop, and I realized that I could sing in tune. And so I really started sitting down and noticing the break alike 2000. Realizing that I'm watching people do these solo acts, I'm like, I could do that. So I'd sit home and sing and practice and. And listen. And I was in a fraternity at that point. I was like, guys, how's this sound? How's this Sound and I would just sit there and play and finally got enough courage to start playing. Jay Hayes down at blue 82 gave me my first real, like, opportunity back then to play. And I walked in, I was like, hey, I just really want to do this. And lucky enough, like, you know, we grew up, both went to Amsterdam High School, so I was kind of familiar enough to be able to at least ask, right, and say, hey, I'd like to do this. You don't even have to pay me. I just really want to see how this goes. And after the first time, he was like, I'd love you to come back and we'll make this a thing and we'll take care of you. And I was like, awesome.
• 10:15
  Speaker B: And for anybody who's like, just starting, like, whether you're, you know, a 15 year old or like, you know, someone in their mid-40s, because I mean, again, I went, I went 20, probably 20 something years with barely, you know, I mean, I played guitar, but I noodled around in my bedroom. You know, I was in a couple bands when I was like in my early 20s. And then, I mean, a fucking couple decades went by. I didn't do anything. So, I mean, I started, you know, redoing music when I was in my late 40s. So, like, whether you're super young or just deciding to do it at like, you know, we're relatively close to the same age. Like, if you're just deciding to do it now, you still fucking can.
• 10:56
  Speaker C: Yeah, absolutely.
• 10:57
  Speaker B: Like, you absolutely still can. And that first step every time is ask.
• 11:03
  Speaker C: Just get yourself out there.
• 11:04
  Speaker B: Just go up to someplace and say, hey, I've been working hard. I can play these songs. Can I come play? And you know, and I love hearing that.
• 11:12
  Speaker C: That's the open mics. A lot of people knock open mics. I mean, I'm not, I'm not out a lot. I spend a lot of time with my family. Sure. Never knock. An open mic is always a great place to listen to people, get ideas and go up and do your thing.
• 11:27
  Speaker B: Yeah. I don't know why I'm going to tell you this story, but it's just funny. But it's just funny. Like a really long time ago, back when I lived in Vermont, you know, I was probably 23, maybe 24, and I used to go to open mics on my guitar and, you know, just like do cover songs and whatever. But I went every single week for years to this one place. And one, one night I was there and I was playing a song and there Was like this guy that had kind of been like a dick all night. And like, you know, some of the people that were there weren't amazing, but they were still doing it. And you support, you know, you support them, you encourage them, support them. And like, this guy was, you know, clearly like, oh, man, Jesus Christ, these people.
• 12:07
  Speaker C: And like, ah.
• 12:07
  Speaker B: He was like, it sounds like they're strangling cats. And was like just being drunk and fucking obnoxious. And when I got up there and was playing a song, he said something smarmy to me. And I stopped playing, walked right across the room and held out my guitar to him and was like, you think you can do fucking better? And he was like, yeah, man. And I was like, then shut up. And then I like went back up. And I would never do that now, by the way, like 23 year old me was much different. You know, it had like probably eight shots of whiskey in me or whatever. But. Yeah, but I am with you. Open mics are very important. And do not fucking knock anybody for not being up to a standard. Yeah. Because that standard is a sliding scale.
• 12:53
  Speaker C: The thing to remember is that people are there to do the same thing. They're going to support you. We're lucky enough to be in a region where everybody is so supportive. There isn't somebody in this music scene that's gonna try to push you down.
• 13:07
  Speaker B: Because it's not gonna make sense. Yeah, you know, if someone's trying to knock somebody in the logo, everybody else, the other 99% of people are gonna be like, what are you doing? No, we lift each other up.
• 13:20
  Speaker C: And that's one of the things that I think is hard for people who are just starting out, because they don't really know everybody. They know their favorite bands and they love to go out and see people. But what are they gonna think when I get up here and do this?
• 13:33
  Speaker B: You know?
• 13:34
  Speaker C: And that's a hard obstacle to overcome.
• 13:36
  Speaker B: Very hard. And it's also hard. I mean, it's hard enough when you're doing other people's songs. Like in my case when I was younger, you know, I didn't have my own songs and I would have never played my own song for people because, like, you know, I wouldn't have been able to handle it. But, like, when you're doing your own stuff in front of people, it's a different level, you know? So, like, even if you wanted, if you want to take those baby steps, start with COVID songs, start doing open mics at cover songs, then open mics with your Original song. You know what I mean? Like, there's so many different micro steps that one can take.
• 14:10
  Speaker C: You know, playing those originals is like a different pukey feeling.
• 14:13
  Speaker B: Yeah.
• 14:14
  Speaker C: Just goes, this one's different, buddy.
• 14:15
  Speaker B: Yeah, totally. You're like, oh, fuck, this one, like, means something to me. People hate it. It's gonna suck. Like, yeah, that is definitely a different feeling. Well, you know, speaking of songs and guitars and singing and whatnot, you brought along your gu. So we're going to hear a song here live, and then you are also going to play, you know, one of the. Was it a studio or a live.
• 14:42
  Speaker C: But yeah, it was a studio track.
• 14:44
  Speaker B: Studio track. Full band. Full band track. So we'll hear that later. Cool, cool. But right now we're going to hear an acoustic song. So tell me a little bit about what we're going to hear.
• 14:53
  Speaker C: Actually, the guitar I learned to play on growing up.
• 14:56
  Speaker B: Oh, no way.
• 14:57
  Speaker C: My father gave. When he stopped playing, he gave me his guitars. So this is one of his from when I was a little kid. So this is. This is called home. When I went back, I spent, you know, almost 20 years in restaurants and working as a head chef and stuff. So when I decided to go back to school, it was 2011, 2012. So while I was at the College of St Rose, I played a song for one of my classes. And two of the students in there were in the industry program, and they said, we want to record this. This is cool. We want to use this for one of our projects. Brennan Lennon and Anthony Kashabet. I'll never forget these guys. They're awesome. And then so we got a local player, Kevin Carey, on keys. Kevin Bone, who was. Kevin Bone was part of Bad Mothers, was going to St Rose at the trip. And Gabe. Asshole. I can't think of Gabe's last name right now, but it was super chill. Drummer, like, sat down, listened to the first, like, three minutes of the song and was like, I got it. And then we recorded it and it was done. And I was like, holy shit. So this is called Home. And, you know, a lot of, you know, we write music. It's about our experiences. And at the time, most of my experience was, you know, adventures that I was having with my wife. So thing, you know, growing and hanging out and so, yeah, Cool.
• 16:15
  Speaker B: All right, well, let's check out Home live here in the Dazzle Den from Josh Cassano. And then we'll be right back.
• 16:23
  Speaker A: Sat McClarid I'm pushing a SA brought me to you and the chic is blue I'M so thankful that this life is true? You made me a better man enough to wonder that desert sands brought me to you in the seas Blue baby, cologne ass. Jump in the water down Take my head and feel this love rush over you Let the water set you free we can do what we want to do is we're leaping to the sea here we are float upon the waves like prince Caspian or so the song says Clouds are up in the sky there hope at the rain for you and I, you and I. So take my head and fly Follow me across the wild away see hope bound and bright sunny days when the starry nights we play on, play home Come on, come on now Come on, baby put your feet in the water Let me hold you just a little bit longer? Sun is high and the tide is low Run through the sand four years ago Swing from the vine and drink some wine and dance to the rhythm and clap the time winds provoke the waves at sea and no match for you and me Feelings let rush over you Let the water set you free we can do what we want to do is we leave you to foresee oh now baby, I don't go on Time is telling me today right and clarity and I'm pushing the sail from me to you and she is blue Baby, I'm so thankful that this time is true you made me better man nothing too old here we are, baby no. 2 love stand jump in the water let me hold your answer come on, baby out tonight swim in the ocean under the moonlight stars dances we swim and play watch us got his own our way fear this letter show for you they don't want to set you free we can't do what we want to do is we're leaving to the.
• 20:26
  Speaker B: Sea.
• 20:29
  Speaker A: Take me, oh baby, baby take o Take me, oh and I'll take.
• 20:46
  Speaker B: All right, that was home. Josh Cassano live here in the dazzle den. And you know, Josh, we were talking a little bit, you know, before we got rolling, about how Josh Cassano and the fam kind of came together and like, you know, how you can go from solo stuff to stuff like the full band and in the studio and all the different, I guess, players who play a role in the music. But tell the folks a little bit about that because it's interesting and certainly some names that are well known in the 518 music scene.
• 21:16
  Speaker C: Yeah, I'm very, very honored and lucky. So when I had graduated from St Rose, I had my degree in music education, so I was trying to get a job and, you know, I was working in Albany as a building sub and doing stuff. And then when I got my job In Schenectady in 2016, I met Mike Lawrence. He was actually my mentor as a new teacher and he was, he's. He is one of the middle school orchestra teachers and a bass player. He's one of the top jazz guys in the area. And he does a ton of gigs with Dave Gleason, who's also a member of the fam, who I met when I moved from the middle school to the high school in Schenectady. And he wound up becoming one of my really good friends and kind of another mentor. Kind of almost like took me under his wing for the first couple years, got me settled in and helped me every time I got kind of like anxious and was starting to flip out. And Dave like, Dave so calm and he like thinks everything through and would always get me like back down the level headed. And also, you know, jazz pianist and a keyboard player. And I just, I always had. When I had written some songs over Covid, I really had them in mind because I love the way they do things and they can change what they're doing for almost anything. And rather than say, hey, I want you to play these notes, it was nice to say, look, I'd love to have you on this album and I want you to be able to do what you do to this song and I want to hear it. Like, I don't want you to hold back, I just do it. So Mike Lawrence played bass on a few things. Dave Gleason's played keys on a lot of stuff and we've worked together on writing some music and so. And then being lucky enough to have gone to school with people like Brian Cipinelli, like Beach House from the region. Like he's an incredible drummer. So I had him play drums on something and then he kind of came in for. We had our first gig on Friday night, really with all the music that we've done, finally booked something together and all had dates that aligned. So it was nice to have him. And then the fam kind of includes my brother in law's Alan and Victor who have both contributed to things in the albums and stuff music.
• 23:29
  Speaker B: So it's musical fam and actual fam like thrown.
• 23:33
  Speaker C: Absolutely, yeah. And I'm lucky enough to have been. Have met so many people along the way because you know, Mike Thomas has played on it and Matt Bruno, who has been one of my friends for a long time, was able to play mandolin on something like. And I like the collaboration feel. I like bringing in people who add their own thing and aren't afraid to.
• 23:56
  Speaker B: Yeah. And that's something that I. You know, when you were just saying that, like, in the back of my head, I'm like, I really dig that because, like, a lot of the times, and not even a lot of the times, I don't want to say that because it sounds dickish, but, like, sometimes you. When people are doing solo projects, their own music, and they're. They're bringing it out and bringing in other people to play on it, there's gonna be that feeling of, like, no, this is my shit, and, like, I need you to do it exactly like this. Or, you know, and I love that you're like, no, no, no, I. Whatever you're bringing is what I want, you know?
• 24:28
  Speaker C: Yeah, absolutely.
• 24:29
  Speaker B: Just, like, I trust you to do what you do, and I'm not going to tell you what to do. And, like, that's. I feel like if I was, you know, because I'm not much of a songwriter, but I feel like if I was, that's how I would be with anyone playing on it. I'd be like, no, no, no. Like, I chose you because you rock, and I trust what you're gonna do.
• 24:50
  Speaker C: Yeah, absolutely.
• 24:51
  Speaker B: Yeah. So that's. That's really cool to. To hear. I like that.
• 24:54
  Speaker C: Yeah. It makes for some. Some cool sounds too, man. Like, it's a lot more. It's fun.
• 24:59
  Speaker B: Yeah.
• 25:00
  Speaker C: You know?
• 25:01
  Speaker B: Yeah. I mean, playing with other people is, you know, fun, and especially, you know, someone who spent a lot of time, you know, I mean, even though the band's been going for four or five years now, like, I've still spent way more time playing alone in a. In my bedroom or something or my living room than I have with anybody else, you know, so it's still always special to be able to get with people and play with people, because it's a different thing.
• 25:30
  Speaker C: Yeah.
• 25:31
  Speaker B: Especially with people of that caliber.
• 25:32
  Speaker C: And it's been such a long time, too. I mean, so rooted philosophy was me, Derek Borcht, and Matt Bruno, and I played drums and sang, Derek played bass, and Matt played guitar. And every once in a while we'd switch instruments for a couple songs and stuff. But that was, like, for a year in 2001, maybe, and we did some house parties and stuff, but I haven't really played in a band since then.
• 25:53
  Speaker B: Right. So it's probably about the same. Your timeline is very, like, similar to mine, like, you know, because when, like, I was in bands when I was Younger. We played. I was in bands. I played fucking house parties, you know, like that, you know, practice at a buddy's house, like, and, and that's still, like, those are still some great memories of just being able to, you know, to play with other people. And when something comes together, you're like, God damn.
• 26:17
  Speaker C: And then like people crammed in, everybody's hammered. Like those basement parties or the attic in somebody's apartment, like, oh, yeah, those were a lot of fun.
• 26:24
  Speaker B: Those were a lot of fun. Yeah. And then I had a, you know, two decade, two decade break of just like, you know, playing tunes on an acoustic guitar when no one could hear. Yeah, but, you know, it's. It's fun. It's fun. I love, that's why I love the local scenes that you can just step in at any point, you know, like, you don't see it as much. I guess you could. But on a national level, like, it's, it's going to be a rarity that all of a sudden you're like, oh, hey, here's a, you know, 54 year old dude that just like came out of nowhere and is now a rock star. Like, it's not going to, it's. I mean, it could happen, but it's not gonna. But in the local scene, you know, you could be like, hey, here's this 54 year old dude that fucking rocks. Like, let's show up for him and support him. Yeah, it's a special thing. So I think we want to hear another song before we go. And we're gonna hear like something like full band, everything.
• 27:19
  Speaker C: Yeah.
• 27:19
  Speaker B: So what are we gonna hear now?
• 27:20
  Speaker C: This is you said hi. This is when we recorded over Covid, actually. So my brother in law, Victor was cleaning out an old venue and found a computer and gave it to me and finally had logic on it.
• 27:34
  Speaker B: Oh, sick.
• 27:36
  Speaker C: I don't have to use garage. This is great. Awesome. So I started recording everything I possibly could. And so this came out and he had worked on kind of helping mix and master this. Victor did. And then so Mike Lawrence plays bass, Dave Gleason plays keys and organ on it, and Brian Ciovinelli plays drums on it. So it's kind of like the first thing I really recorded and got done for the first start of the fam. And then now we all got back together and played live. So this is, this is a cool song.
• 28:08
  Speaker B: And it's called you said hi. You said hi, you said hi. All right, well, let's check out you said hi. Josh Cassano and the fam and then we'll be right back to wrap it.
• 28:42
  Speaker A: No magic car what you see was just the other day you said hi Made you dance with me Took you for the right way Took some steps and we made memories the future is us together to se Together to seize roll or die Drink the bo you and me baby me and you There ain't nothing we can do we can.
• 29:35
  Speaker C: Do.
• 29:38
  Speaker A: We surely took some we sure took some files but he these behind these loving halls I take you by the hand straight to another land.
• 29:55
  Speaker C: We.
• 29:55
  Speaker A: Shoot into some halls Put in this loving house Loving house But take you by hand shake to another land sa sit still one day to find it all we got our backs to stand so tall it was then that I knew I could let you go where this old an could never to let go never did now.
• 34:26
  Speaker B: All right, that was you said hi, Josh Cassano and the fam. And Josh, I want to thank you so much for coming out and. And doing this. It was really cool. You. You brought me gifts, which is amazing. That. That I really appreciate, but it was a cool conversation. And before we go, I just want to give you the chance to say what I refer to as your gratit microphone is all yours.
• 34:45
  Speaker C: Thank you. Well, thank you so much for having me. This is awesome. This is the big moment for me, so I'm super excited. I just. I want to say thank you to my wife. Sarah has been so supportive, even with our kids, even when they were super young and babies. It wasn't always easy. And she's always supported me and understands what this means to me. So that definitely would not be where I am without her support. My parents and my sister for their support. And then anybody I've had the chance to work with, especially Mike and Dave, who've been there every step of the way. Brian, anybody who's played on the albums and to a lot of the venues that really kind of helped me get started, like blue 82 and on tap, the random places and players was always helping out and J Street Pub and Mitch and, you know, I don't want to single anybody out, but like, Bobby Bellard, just the people who kept contacting me over and over and please come back. Please come back and, you know, thank you to everybody.
• 35:50
  Speaker B: All right, cool. So he is Josh Cassano. I am Andy scullin. This is unsigned 518 and I'll see you on the road. Unsigned 518 is produced and hosted by me, Andy Scullin. New episodes are available every week wherever you stream podcast. If you'd like to help support the show. Please like and subscribe wherever you are listening. Or you could buy me a coffee@buymeacoffee.com unsigned 518 if you would like to advertise on the show, send me an email@unsigned518mail.com and to be a guest on the show, reach out to me through Instagram signed 518take care of one another another and I'll see you next week.