Latest / Unsigned518 / Unsigned518 - Episode 118 - Pearson Constantino

Transcript

Unsigned518 - Episode 118 - Pearson Constantino · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73. He loves park rock music. Finding the 13 cabin in the dazzle jazz rock. Now on the Ben's guitar with a short with radio back. His motherfucking Andy scolding. Look at motherfucker. Cause here he comes, Andy wearing his own hat. Welcome to unsigned 518. I'm here with Pearson Constantino. How's it going?
• 0:32
  Speaker B: It's going good. I see Pearl Jam on your wall here.
• 0:35
  Speaker A: Yeah, that's the 20 companion book. That's like a day by day journal of Pearl Jam. I'm a big Pearl jam fan. Yeah.
• 0:45
  Speaker B: So were you like, part of the. Were you interested in the whole drummer kerfuffle thing?
• 0:50
  Speaker A: I mean, I know. Certainly know that. You know, the David Bruce, Dave Cruzin, all that stuff. Yeah. Oh, here's Calvin. Hey, Calvin, what's doin'but? What? Kerfuffle.
• 1:04
  Speaker B: So not really kerfuffle. That was the wrong word.
• 1:07
  Speaker A: It's a great word.
• 1:08
  Speaker B: We're having a few beers. So Matt Chamberlain played in the alive video. And so he, at that point, was like my hero, just. Cause he played with traditional grip, and it was so behind the beat and so much groove. And he came from Edie Raquel and the new bohemians. That record ghost the dog, which was like, the record that was a really important record I'm a big fan of. And it was just very cool music. And I got, you know, that's where I kind of started to get away from, like, rush and Zeppelin and, you know, the winger def Leppard scene of, like, my youth.
• 1:53
  Speaker A: You've got to be right around my age then.
• 1:55
  Speaker B: I'm 112.
• 1:57
  Speaker A: I'm 50. I'll be. I'll be 51 in May. But, like, that's like, all the shit. Like, I'm like, yep, yep, me too, me too.
• 2:06
  Speaker B: I don't think there's much of a golf there, you know, musical. You know, I didn't really listen to, unfortunately, listen to Sabbath or anything cool. It was either, like, that shit or heavy into jazz, which was. Which was on the record player at my house all the time. Or like, pat Matheny and roots music, which became a big part of my music career later on, by sheer luck, I got into the roots scene and added accordion and guitar to the repertoire of the percussion thing. But, yeah, that was seeing pro gem. So it just makes me think about this conversation I had with Jason Keller at EQX about Pearl Jam, which was phenomenally hilarious if you know him. He's just a brilliant, brilliant guy. I'm just looking at your walls. First off, it's an honor to be here. I feel like I don't belong, for sure. I don't belong here, but I don't know the scene as well as you do. And I'm tasked with talking about the scene so.
• 3:12
  Speaker A: Well, you know, yeah, I guess that brings us to, you know, why you're here, because we. I definitely want to talk about, like, your role in this scene because it is certainly a very important role. But I also want to talk about your. Your music and, like, how you came into that and how that branched into, you know, like, how you got to the. Because the. The role of host of EQ exposure. And we were saying before we got started, which you didn't realize, I actually used to host EQ exposure in 2000, fucking two, I think maybe 2002, 2003 or something. And when I. When I did that, I had this vision of having bands come into the studio, play a song, and then doing like a, you know, a one on one interview that was like, kind of a rough. And that's what I did on several episodes. Not like the whole thing, but that's basically what I'm doing now. Like, like, that's what this podcast is. So, like, this podcast came from EQ Exposure, the companion, 20 something years ago, and had been in my head, you know, like, that was what I always loved about it. And everything, you know, in radio, radio has always been, like, my thing that I've loved. And so this is like taking the best parts of radio and doing it in my garage, you know, I think.
• 4:41
  Speaker B: You'Re doing a good job.
• 4:42
  Speaker A: Well, thanks, man. I think you're doing a good job.
• 4:44
  Speaker B: Your podcast knocks me out.
• 4:46
  Speaker A: You've got it. Actually, just so you know, I don't listen to a ton of terrestrial radio.
• 4:52
  Speaker B: Who does, right?
• 4:53
  Speaker A: Correct. It's tough. And, I mean, even when, even 20 years ago, it was like, the streaming was becoming. But EQ exposure is, to this day, one of the only shows where. Gotta tune, you know, gotta tune in.
• 5:08
  Speaker B: Well, let's talk about that for 1 second. Cause recently, 102.7 FM EQX. WEQX was the last independent radio station in the United States of America. Which sign of the times every car, new car is like x amine. Right. And we all kind of get roped into that. And that has its place. But there isn't an EQ exposure type experience on the XM, right. And there could be. And, you know, like, growing up, for me, radio was super important, primarily because I. The tape player was always fucked up. It was always broken in the car, you know, or, like, the a track. Because there was the a track. So that that kind of was shitty. You know, had, like, eat a peach physical graffiti. Like, you could listen to those. And then you, you know, like, 200 times, like, okay. You know, I really got the thing. So radio, and it was always jazz and NPR. And then when I was in New York, I got connected to FUV and WFMU, which was like a root station. I'm talking about this roots thing. I don't know why. So I was thinking about it on the way over here. Like, what could I possibly add to this show? But that's.
• 6:20
  Speaker A: The joy of it is that, like, this isn't, like, anything that needs adding to. Or, like, this is just two people that have a common interest talking.
• 6:29
  Speaker B: It's true.
• 6:29
  Speaker A: And, you know, that's. The beers are certainly not gonna hurt.
• 6:34
  Speaker B: First off, I love your band. Let's say that. And every time you guys send a tune, I wanna make sure.
• 6:40
  Speaker A: Thank you. We get to play it.
• 6:41
  Speaker B: Because there's no, like, I don't really have a hard and fast on, like, what gets played. I have to be honest. I don't play everybody's work. Sure. Cause there is a certain thing with EQX where I think when they asked me to come on air, it was maybe just kind of like a foolish mistake. Because I think they were thinking, oh, this guy's friendly. And I was on the radio because of the beer piece, and then had no idea that I was, like, this brooding, self involved, narcissist musician who really only sees things in this tiny little box of music that no one really wants to listen to. So I kind of being a complete outsider. I'm not from around here. I've only lived here less than ten years. And not in the music scene. In the music scene here. I can't say it in a way that's gonna carry the weight of the thing, but it's far deeper than I ever experienced growing up in Syracuse area. And I was a part of that scene fairly deeply in both the jam jazz and hardcore piece. Earth Crisis was a famous band, Snap Case out of Buffalo.
• 8:06
  Speaker A: Oh, I know snap case.
• 8:07
  Speaker B: Yeah. Yeah, of course. Right? So those guys are really, really important to me. Ithaca was a great place to play music with the jam thing in late eighties, early nineties and into the nineties. So, yeah, not being a part of this music scene, but always wanting to come play to Albany. You had bogeys. And then there was, like, quintessence, maybe, like, this is the diner that maybe. So I don't. Yeah, so those places are obviously gone. Oh, I see it. Sign for Girth control. I love their record.
• 8:38
  Speaker A: Oh, I got him to sign. I got him to sign it. Those guys are, like, my fucking favorite. Like, when they. When they came on the show the first time, like, I, like, you know, I always say the only research is I listened to the music right on. I, like, became addicted to their song, like, to the point where, like, the band would show up for practice and I'd be like, crank and girth control in here, just like, oh, my God, I love these dudes. Yeah, yeah, they're awesome. Dorito and I did a special Dorito covered episode with them.
• 9:07
  Speaker B: Oh, perfect.
• 9:08
  Speaker A: So a whole episode just dedicated to their album release. Good.
• 9:14
  Speaker B: You are doing such a service. So, yeah, I think that's how eventually I worked my way into getting to creating my take on the show. And I play music. I hope that aligns with the standard EQX radio listener, but also pays great deference to the artists who are submitting their work. And their work is adding so much to the cultural identity of the community from where they are. And then to be able to play and go hear these people do what they do live, it knocks me out. And just making creative music for the fact that it's important to them and make just really great art and holy shit, to be a part of it in this tiny little way is really meaningful to me. Yeah.
• 10:10
  Speaker A: And the thing that I found being in radio going back, you know, early nineties, like, through the nineties, early two thousands or whatever, like, not necessarily a scene that I was in because I wasn't a musician, you know, I mean, I just formed a band three or four year, four or five years ago, and that's really other than a couple cover bands and, like, you know, playing guitar in my room type of shit, like, I wasn't an active musician, but, like, so being, like, in radio and seeing scenes that, like, I wasn't necessarily a part of, but I would pay attention to and, like, kind of fly on the wall manners, you know, be like, oh, here's some bands coming out of New York. Here's what's coming out of, like, Nashville. Here's what's coming out. And I was. It was always just, like, everybody just trying to sync each other. You know what I mean? Like, you'd hear, like, quotes of, like, bands shitting on other bands because it was like, there's not enough room for everybody, so everybody stepping on each other.
• 11:11
  Speaker B: Oh, the battle of market share, right?
• 11:13
  Speaker A: Yeah. So, like, you're in marketing. I'm a market, yeah.
• 11:16
  Speaker B: Correct. Yes.
• 11:18
  Speaker A: And, like, that's what I saw.
• 11:20
  Speaker B: That is terrible.
• 11:21
  Speaker A: That is what I saw. And then, like, to decide to, like, ah, fuck it. I'm just. We're gonna go into, like, this, you know, local music thing or whatever, and to see that. Oh, wait, that's not actually how it is. You know what I mean? That's not how. Or that maybe the Albany scene or the five one eight scene is different, but I feel like once you get money, kind of out of the equation is when you find the good nature. Like, and if you're up at, like, this higher level, if you're getting national airplay, you're at a higher level. You know? And you're dealing with, like, other people now fucking care about you. You, because you're a commodity. And, like, I feel like that is a. That creates that competition. And, like, when you're at a local level, we don't have that. We just have, like, everybody working together and being like, this is fucking rad. Like, room for everybody. You know?
• 12:24
  Speaker B: There is absolutely room for everybody in everybody's voice.
• 12:27
  Speaker A: Fully agree.
• 12:28
  Speaker B: I think, at that higher level, too. I just think the mass consumption is a bit homogenized. That can be distracting. It's like a reductive dusting off.
• 12:39
  Speaker A: Right.
• 12:39
  Speaker B: But, yeah, I don't. I don't know. I've, you know, not really been a part of that machinery to know those pressures and to know, like, my music's never had to make a payroll. Right, right. So. But. But the other products I'm a part of have to. And for quite a bit of people. So I can. I can. And I can kind of see it in a lot of directions, but there certainly is room for everybody's voice, for sure, somewhere.
• 13:08
  Speaker A: Yeah. So, like, with the, like, you know, like I said, not having to make a payroll, like, that's such a freeing thing.
• 13:15
  Speaker B: Yeah.
• 13:16
  Speaker A: To be like, we can do whatever we want. Like, we can make whatever kind of music we want. We don't have to. Like, there's not somebody being like, that's not a single, or, that's not. It's like, because we're paying for ourselves. We're paying to have it distributed. Like, it's our, you know, our product. Nobody can tell us anything about anything, and that's a thing that, again, I think, just keeps everything fucking cheery.
• 13:46
  Speaker B: Oh. Everybody inside is like, oh, man. Fuck Andy's, man.
• 13:49
  Speaker A: God damn it.
• 13:50
  Speaker B: I get that gig before you can.
• 13:51
  Speaker A: Shit. No, because whenever I get a gig, the first thing I always do is, hey, can I bring some friends?
• 13:57
  Speaker B: Well, maybe you're the exception of that rule. I hope you're not.
• 14:01
  Speaker A: No, I love. We've got, like, a network of bands, certainly, that, like, to play together a bunch that, like, I just love, you know, be like, hey, you want to play with us here? Sure. Do you want to play with this place? And then.
• 14:16
  Speaker B: So you. So you do have your network of.
• 14:19
  Speaker A: Oh, yeah, yeah. Like, there's definitely. Definitely several bands and people that. Through the show or through the band or whatever, that. What's more important to me is the friendships that I make. So the position that I'm in right now is I get all these fucking cool people to come to my garage and hang out with me. And in some cases, how did I get here?
• 14:44
  Speaker B: It's like, I think you came up route four.
• 14:47
  Speaker A: No. And in some cases, it's like, musicians that I, like, really respect that have come in here and played something, you know, done acoustic performances like that. I'm like, that's, you know, that's a special thing to just, you know, a lot of the times what I do is I set them up and hit record. Then I just leave the room.
• 15:09
  Speaker B: Right.
• 15:09
  Speaker A: And, like, let you know, I'm like, I'll kind of be listening, and when you're done, I'll come back in and, like, those recordings, to me, are amazing. And they're just these two microphones that we're talking into just pointed at somebody. Nothing plugged in, no effects, no anything. Just, you know, you're doing it. Just. Yeah, guitar, ukulele, whatever voice. It's amazing. So much fun. So I think we should. You know, we've definitely got a lot more to talk about because we haven't really even scratched the surface. But I think we should dip into song that you've done. And I know you were saying that it's. I don't know how you described it. Would you say music that's a little more difficult to listen to?
• 15:57
  Speaker B: Yeah.
• 15:58
  Speaker A: So it takes a little more patience to absorb, you know.
• 16:02
  Speaker B: Yeah. It's not like you're gonna just like. So do you have those. So, Andy, do you have those records that you listen to and you love all the time, and they're always there for you, and then you have those certain artists and recordings that kind of, like, you love them, but the stars need to be aligned before you can play that whole thing. And you gotta, like, listen to the whole work.
• 16:26
  Speaker A: Yeah. Immediately who comes to mind? And it's probably not, but. Daniel Johnston, sure. I have a vinyl of his that I got when I was. It was a record of the month club during COVID Oh, cool. So you get, like. And they would pick it for you. They would. You'd allow them access to your Spotify playlists and they would get, based off your Spotify listening, they would give you, like, all these records get three a month. It was fucking wild. I got, like, some really cool shit. But one of them was a Daniel Johnson record. That's. And, you know, Dan. You know, it's. Yeah, it's, I guess, kind of hard to listen to, you know, if you don't get, like. But when I do have to listen to the entire. I cannot just listen to one song or put it on. Listen to two or three songs and be done. It's like. No, I listen to the entire thing and it's.
• 17:20
  Speaker B: Yeah, so, like. So it's like, sort of what the. Just reminds me of, like, where pandora started with that music. That human music genome thing.
• 17:30
  Speaker A: Yeah.
• 17:30
  Speaker B: Which a friend of mine, Scott, was a part of. And I think of, like, Spotify playoffs. So, like, if mine is, like, field recordings of Alan Lomax, Delta Blue, that you really need to listen to closely. Mississippi John Hurt and Miss Suga. So, like, where am I. Where are they going to send me? What am I going to uncover? You know?
• 17:53
  Speaker A: Like, probably. You know, probably something cool. But I like, that's, like, shit that, like, spikes the algorithm or, like, fucks with the algorithm.
• 18:01
  Speaker B: I wasn't. It's not an intentional thing. I'm just like. Bill is like. That's kind of where I am.
• 18:06
  Speaker A: But that's probably where, like, the good shit lies. You know what I mean? You put enough pressure on all of this fucking beautiful diamond appears and, like, you know, your new favorite band shows up. Well, you know, they sound like Delta blues and meshuggah. Yeah, mixed together.
• 18:19
  Speaker B: Yeah, that's my. That's, like, everything I work on.
• 18:22
  Speaker A: Nice. So, what are we gonna listen to?
• 18:26
  Speaker B: So, I'm working on a record. I've been working on it since COVID It was based on a series of text messages. I can send you a preview. I haven't released it yet, but I'll send you a preview of a cut.
• 18:36
  Speaker A: Okay. Something we can put on the. Put on the air?
• 18:39
  Speaker B: Yeah. Yeah. I'll send you. It's called that night on your. That night.
• 18:46
  Speaker A: That night.
• 18:46
  Speaker B: I think so. I think I haven't. So naming tunes are so hard for me.
• 18:50
  Speaker A: No kidding.
• 18:51
  Speaker B: Yeah. That's, like, the worst. But this one. I was just thinking of the text message. I remember it was like a Halloween night and it was like 80 degrees out. It was weird. But I'll send you that one. That one's no one's. I've never played that anywhere. And it's. I'll send you that one.
• 19:06
  Speaker A: All right, cool. And it's tentatively called that night.
• 19:09
  Speaker B: Yeah, it would be like that. That Halloween night. So I'll. And then I might as well release the record when this podcast comes out.
• 19:18
  Speaker A: There you go. Sweet.
• 19:19
  Speaker B: All work out and then.
• 19:21
  Speaker A: And you're releasing it under your name.
• 19:23
  Speaker B: Yep.
• 19:23
  Speaker A: Yep.
• 19:24
  Speaker B: Arson.
• 19:26
  Speaker A: Yeah, I knew that. All right, so let's listen to that night or that Halloween night, Pearson Constant. And then we'll be right back. Alright, so we're back with Pearson Constantino and we're drinking some brown spears. What do I got here? I can't see. We get, you know it's called the Dazzle den. It's not really called like the really great lighting Den. Oh, continue. I'm drinking a continuum. Yeah. So anyway, we were.
• 25:52
  Speaker B: I'm drinking Saturday savior which I named after a team by failure which is one of my favorite bands.
• 25:58
  Speaker A: Yeah, I know. I. I don't know failure, failure stuff like too much. But I do know like there connection to like Tool and a perfect circle.
• 26:08
  Speaker B: Every band actually likes failure because like.
• 26:12
  Speaker A: Queens Troy Van Lewin was in a.
• 26:16
  Speaker B: Perfect circle on the first record. The first like.
• 26:19
  Speaker A: Yeah, where they did. And then on the second one they did the nurse who loved me.
• 26:24
  Speaker B: Yeah. James E. Ha. Came in on that.
• 26:26
  Speaker A: Yeah, yeah. Great, great. Shit.
• 26:28
  Speaker B: Fucking Maynard, man. God damn.
• 26:31
  Speaker A: I mean I, you know, like Tool's one of my favorite bands.
• 26:34
  Speaker B: Sure, but tool's one of those bands that like I can't just drop in on a record. I gotta like clear the deck and like it's Tool Time and like not like it's like, yeah, Tim Taylor. But it's time to listen to tool and like fuck off. I, you know, I maybe got through fear inoculum once.
• 26:55
  Speaker A: Oh, I absorbed the shit out of that. I even got the CD with the.
• 27:00
  Speaker B: Oh, I wanted that so bad.
• 27:02
  Speaker A: I got it. And it was funny cause like I was at work and I did. I worked at a butcher shop and did marketing for them and one of the managers knew that I was a big tool fan and I was at work and he had the day off and without saying anything, just like nothing, not a word. He comes in the next day and gives me one because they sold out like super, super fast and he had gone in, and he goes, I was walking to the checkout counter, and. And if somebody had, like, buyer's remorse and had, like, set it down on buyer's remorse, set it down, like. And set it down, like, in the, like, end cap of the register. And he said, as he's standing there in line, he just looked over and said, oh, what's that? And so it was like, oh, fuck. And bought it.
• 27:50
  Speaker B: Where was this?
• 27:50
  Speaker A: To me, it was in, like, colony or something like that.
• 27:53
  Speaker B: Yeah. So it's like, I don't know if so I'm going to date myself right now. So when I used to make CDs that, like, records that I made Starbucks at the time. So I was living in New York at the time. So Starbucks would have, like, chris Bodie nor Jones, like, right at the counter where you're paying, you know? I do remember I would, like, put a record of mine in front. Like, put those shits in the back and, like, you know, take a picture. And at the time, it was still called Twitter and be like, yo, my records at Starbucks, like, 52nd. And, you know, that's great marketing. This wasn't my idea. It was Josh Freeze who started doing that. Josh Freeze is more well known for playing with Sting in the Vandals. But, yes, he's also in that band.
• 28:43
  Speaker A: Yeah. Because he played for a perfect circle on their first one.
• 28:48
  Speaker B: He played on their first two records, and then the live records as well. He's touring with them again. It's not like I'm a Josh fries. I kind of. Anyway, so, yeah, it was. He's amazing, and he's one of those guys that's just such a great job. I remember listening to him for the first time on Dweezil Zappa's first release, and Josh Reeves was like, he's maybe four or five years older than me. So, like, everyone's like, well, he's 17. You should be better. I was like, well, God damn it, you know, I'm working on it. I'll get there. Let me figure out how to meet Terry Bozio and take lessons, hang out with Vinny.
• 29:28
  Speaker A: So what are some of the local bands that are catching your eyes?
• 29:35
  Speaker B: I'm so glad you're asking this. Cause that's kind of the whole point, right? So eerie. I dig they have this tune that just. I can't get enough of bad man's world, so, you know, on your walls, of course. Black tongue. Reverend, you got Yort? I just saw Yort at unified. Well, just. I mean, that was, like, a couple months ago. So you even took my kids there and that was fantastic. I dig that place. And I know head sound played there. I'm a big fan. Levator stands out to me. Joseph Beattie is an incredible, just has a mountain of work that's completely worth listening to. When I first started. Right. So I think we kind of jumped over this at the beginning of our talk here when I first, when Jeff asked me to come on board doing the EQ exposure thing and.
• 30:26
  Speaker A: You mean Jeff Morad.
• 30:27
  Speaker B: I do mean Jeff Morad. Yeah. Yes.
• 30:31
  Speaker A: Just for those that don't know.
• 30:32
  Speaker B: Yeah. So he asked me and I was just completely blown away and was like, you know, I really need to figure out how to be a part of that cultural thing if, like, what an honor, right? And, you know, so, you know, just to have a small piece of that and be a part of that for a minute, which has been a few years, you know, if they continue to have me and, you know, it's an honor. So the. I think the first band I interacted with was Architrave. I remember emailing Jen and, like, buying her music, buying their, her and Paul's music for it to play on air because I was just into it and I was like, well, and she actually responded. Right. So she also pays to respond to emails if you're a musician, by the way. And, like, rapidly. And she got back and then everyone on the, those first few shows got back, like elder orange Matt, who's in beard and glasses and like, that was really helpful and they were really, like, accommodating, you know, and then super dark collective came, sent some stuff and that was, that was really great to just get connected and get a deeper scene. Slaughterhouse chorus, which I know some of those guys are in girth control. So those were the, those were the initial bands. And then, you know, it's gone from there where it just. I know. Not everybody sends their music my way. And the archives, there was a purge, so the archives aren't great on a lot of stuff, but the artwork that gets sent to me, there's some really out stuff that I love and I always play it, always find a spot. But again, I feel encumbered a bit. Maybe it's the years of the corporate work that is put me this way to, like, try and get everything that's as mass appeal as I can for the station and then, and then can sneak these things in that hopefully. So if someone is, like, not turned off necessarily by a lower quality recording and then there's like a blend of that. So like, you can sneak those tunes in and that person didn't turn the radio station off when they're in their car throughout home or streaming it on.
• 32:44
  Speaker A: And, like, I remember doing, you know, doing it years ago. It was all coming off of, you know, people would send in physical CD. Ours, you know.
• 32:52
  Speaker B: Yeah, yeah, right.
• 32:53
  Speaker A: I'm that old word. Like, there wasn't. You know, you weren't just getting a digital file. Someone wasn't sending an mp3. Like, I would get the, like, physical cdrs and, like, how cool is it.
• 33:04
  Speaker B: Now you can email away if, like, the servers are that big, dude.
• 33:07
  Speaker A: Yeah. Unranked. Like, unreal. But, like, some of the sound quality. Like, actually, most of the sound, it was all, like, demo quality stuff. And, like, some of it was, like. It was heartbreaking to be like, I hear what is happening. You know, I hear what is happening here and I really fucking like it, but, like, I can't put it on the air because it's not gonna sound. You know, I mean, it's gonna sound bad. And, like. And that, like, used to break, you know, because I'd be like, I hear what's happening here. And I bet you if I was standing in the room while you were making this noise, I would be like, you know, but if back then it was so tough to. And now, like, I mean, I. Almost everything that plays on EQ exposure sounds absolutely radio quality.
• 33:54
  Speaker B: Well, you guys send incredible quality tunes, too.
• 33:57
  Speaker A: Well, we've got. We've. We've got a team of surgeons.
• 34:02
  Speaker B: Bullshit. You guys are great, man.
• 34:05
  Speaker A: No, like, we like work. I don't know if you're familiar with, like, the jive hive for. So, like, the last song, plastic.
• 34:13
  Speaker B: Yeah, it's great too.
• 34:14
  Speaker A: We did that live at Jive.
• 34:16
  Speaker B: You played that live?
• 34:17
  Speaker A: Most of it. Okay. The drums, the bass, the two guitars are all played live in a room at the same time. Vocals were done after. And then there was a synthesizer. That synth sound. That synth was actually done on that computer right there about two weeks after we recorded the rest of it.
• 34:38
  Speaker B: That's great. Picking it up.
• 34:40
  Speaker A: Yeah, but, like, the meat of that was live. And then we gave it to Dave Tayo of simple machine.
• 34:46
  Speaker B: Yeah. Also incredible musician is.
• 34:48
  Speaker A: He's our secret weapon. Like, he's produced everything we've done.
• 34:51
  Speaker B: Oh, cool.
• 34:52
  Speaker A: So far. And, like, to the point we're, like, on don't care and someday and so long. And along the way. Or wait, no, we've lost our mind. We called it. Yeah, we. We use. It used to be called along the way. And then Dave told us to call it we've lost our minds, but we're having fun. And we went, okay. But he produced all those. And, like, basically co wrote, because, like, he would be like, what if we did this here? What if we changed this here and did that and that, like. So Dave literally is our secret weapon because if we had to fucking record it ourselves, like, it would not. It would not be good. I mean, I guess it would be good, but it wouldn't be, you know, sound like a demo. Like, Dave's that. Like, he's got the rig.
• 35:38
  Speaker B: He's got the tricks.
• 35:40
  Speaker A: Yeah. And it all just always sounds so good and, like. Like his stuff, too. Like, Steve. Damn. Yeah. Like, I remember once hanging out a date. This is before, like, because his studio now is, like, he built it from the ground up. This is years ago when it was, like, over on Saratoga Lake and he had Queen's Bohemian Rhapsody. He had the multi tracks for it.
• 36:06
  Speaker B: Oh, wow. Like, he detested.
• 36:08
  Speaker A: Yeah, just, like, had it, like. And had every. Like, we got, like, pretty. Pretty drunk one night and we're just fucking around, like. And it's like, holy shit. Like, you can pull every note and isolate it every. Like, it was, like, mind blowing. It was unreal. And we actually. Because it's Cambridge. Cambridge University or Cambridge music, there's a website where you can offer your music for people to practice with.
• 36:35
  Speaker B: Oh, wow.
• 36:36
  Speaker A: And so Dave Tayo suggested that we do that with our songs. So whenever he masters our song, he sends the multi tracks to this website and, you know, production students or whatever.
• 36:51
  Speaker B: Oh, wow.
• 36:51
  Speaker A: Can do whatever. Do whatever they want with it. So, like, every once in a while, I'll get a fucking email from, like, some dude in France. That'll be like, I really. Doug, your song. Don't care. Here's a remix that I did of it. Tell me what you think. Get out.
• 37:10
  Speaker B: Cool.
• 37:10
  Speaker A: Is that so? Yeah, it's so fucking cool.
• 37:14
  Speaker B: Isn't that cool? Like, you think, like, community extends so far and we're all the same. Yeah, we just want to have a few beers and love each other.
• 37:22
  Speaker A: Right?
• 37:22
  Speaker B: Yeah.
• 37:23
  Speaker A: Ultimately, like, totally. And be like, hey, I like your stuff, and, like, it's just so.
• 37:27
  Speaker B: But I'll get that gig instead of you, so.
• 37:31
  Speaker A: I will slash your fucking tires. Let's have a beer after the. After the show that I got that you didn't get.
• 37:41
  Speaker B: No, no. We're all the same. We're all the same. Market share.
• 37:45
  Speaker A: Yeah, market share. But, you know, there's enough. There's enough.
• 37:48
  Speaker B: There is enough.
• 37:49
  Speaker A: Where we are and what we're doing, there's plenty. So do we want to play another tune?
• 37:55
  Speaker B: Oh, God, no.
• 37:57
  Speaker A: I think you do.
• 37:59
  Speaker B: Sure. I'll play a tune that is off my last record. And so the record I'm working on is called home from the summer. I just don't have titles of the tunes yet, but I'll give a tune off, and I'm pulling it up here in the band camp. We'll give you the band camp stuff. God, I can't believe I released it that long ago. But, yeah, this record was recorded when I officially. My wife, Julie, and I officially left our home in New York and just lived out of our Honda element for a year. So I recorded on the road there. So, yeah, I'll share one of these to you.
• 38:40
  Speaker A: Nice. And what's the name of this one?
• 38:42
  Speaker B: Selfish.
• 38:42
  Speaker A: Selfish.
• 38:43
  Speaker B: It's recorded in New Mexico.
• 38:45
  Speaker A: Cool. Well, let's check out pretty short. Selfish Pearson Constantino, and then we'll be right back to wrap it up. All right. That was selfish, Pearson Constantino and Pearson. I want to thank you so much for coming over and bringing delicious beers and getting me a nice, solid buzz on a Monday afternoon.
• 42:01
  Speaker B: No, I'm grateful, dude. Thanks for having me. It's a true honor. And just being a part of the scene, in my small way, I'm grateful for it.
• 42:08
  Speaker A: I mean, it's not a small way. Like I said, eq exposure is like. And again, this is coming from. I know I'm getting sidetracked already, but this is coming from someone, like, again, 20 years ago, I used to be the host, but when I even now, hearing my song on, it is a fucking thrill. So, like, what you're bringing to the scene is in each individual instance, just think of it. Every song you play is sparking someone's like. I don't want to say, like, creativity, but it's like, giving someone that motivation to continue. You know what I mean?
• 42:48
  Speaker B: You're like, oh, shit, I hope so. It absolutely is.
• 42:51
  Speaker A: Like, every single time you play a song, there's somebody out there that is just feeling it and being like, fuck, man, I just got played on the fucking radio. You know what I mean?
• 43:01
  Speaker B: Last independent radio in the nation.
• 43:03
  Speaker A: Yeah, yeah. And, you know, so it's a huge thing.
• 43:07
  Speaker B: But anyway, well, it's not a singular endeavor, obviously. There's been quite. Quite the road paved for me to just kind of float in and do whatever I do.
• 43:17
  Speaker A: And EQX has always been, like, for local music.
• 43:22
  Speaker B: Yeah.
• 43:22
  Speaker A: You know, for independent stuff, like, they've always gone to their own, you know, the beat of their own drum and like. Yeah. So cheers. To what? How many 40 something years?
• 43:33
  Speaker B: It'll be 40 in November. Jesus Christ. Yeah, so thanks to everyone there. Jason, Jeff, Joel, who's been there a long time, Doug, Luke, Nikki, Joy, will, everyone that I interact with, Nick Rivers, everybody. But I couldn't be here if it wasn't for you guys. Shortwave radio band. Right? Liam Davis, pencil dive fine green. Mike Gross, handler. Wes Aldrich, candy ambulance parlor of the Atlas, north side sound, northern faces, eastbound Jesus. I met Dave Wright two weeks when I came up here to stay. Only for those two weeks, I met him at a bar, and he's really the fault of me sticking around. Dave Wright bass player, eastbound. Yeah, so it's not. Again, I can't say it enough. It's not a singular endeavor. There's so many bands. Eerie. You know, I already mentioned the other bands that I love here, and everybody I get to hear. Jason Wolfman Martin is like, an awesome human, and I love his music. And there's everybody that sends me their work. So if you haven't sent your work to me, please don't hesitate. I listen to everything. I truly listen to everything and try and find a spot for it.
• 44:47
  Speaker A: And you respond to emails I try.
• 44:50
  Speaker B: And get right back to you within six weeks.
• 44:54
  Speaker A: I mean, you've been pretty.
• 44:55
  Speaker B: I get hundreds of emails a day, so I wanna.
• 44:58
  Speaker A: Yeah, that's true.
• 44:59
  Speaker B: But if you send, like, an eight minute long tune, it's gonna be a couple minutes, right?
• 45:05
  Speaker A: Yeah. But you've been very, very good to, you know, not only my band, but, like, a lot of bands that I know.
• 45:11
  Speaker B: Oh, well, that's nice to hear.
• 45:13
  Speaker A: Certainly. Certainly has helped fuel the scene. And I hope you continue to do it for, like, so many more years because we, like, seriously, like, we need someone like you doing what you do with the audience that you have. So I think it's important.
• 45:30
  Speaker B: I can't tell you how much that means to me. Thank you, Andy.
• 45:33
  Speaker A: Anything else?
• 45:34
  Speaker B: Just thanks to my wife and my kids for putting up with me not being around ever, so.
• 45:39
  Speaker A: Right.
• 45:40
  Speaker B: Fair. Love, everyone. Cheers. Can I play those drums?
• 45:42
  Speaker A: Yeah, you can play the drums. Absolutely. All right, so that's Pearson Constantino. I'm Andy Scullen. This is unsigned 518. I'll see you on the road. Unsigned 518 is produced and hosted by me, Andy Scullen. New episodes are available every week wherever you stream podcasts. 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 at unsigned five one eight mail.com. And to be a guest on the show, reach out to me through Instagram unsigned 518 take care of one another and I'll see you next week.