WEBVTT

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Okay, we are back at you today, the Dan Time

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podcast. Moving forward here, always trying to

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have a new guest every week. Well, I do have

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a new guest every week, but I love for it to

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be a surprise. I don't do any promotion a day

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or two ahead of time. It's just every Sunday,

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here's your surprise new guest. And way back,

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I guess, the early episodes, I put a disclaimer

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out that I don't have just any old Dan on the

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show. for the sake of having an interview, I

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kind of comb the various corners of the world

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or the internet. And especially with singer songwriters,

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if it's something that I connect with, and first

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of all, there has to be a buy -in from the guest

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that they get the joke, they like the concept,

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then we go forward with it. So, Dan Time, for

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those of you who have never listened to the show,

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it is frequently me talking to other Dans. or

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Daniel, or the family of names, as I say. If

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we expanded out a few months ago to Dana, we

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had our first Dana guest, Dana Wiley from Edmonton,

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Alberta, Canada. Please check out her catalog

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of music. There's always, she's always got some

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really interesting and eclectic projects going

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on. But, you know, I talk to people with different

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names or someone may have just one silly Dan

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story, or there's just people from the network.

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But today, Dana Perry is my guest. Madison, Wisconsin

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based Evo folk artist. She's been making music

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passionately for 30 years and for over the past

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15 or so years focusing on guitar and songwriting.

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Dana has released seven albums total. Now three

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of them are probably the most accessible that

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you can find on your streaming platforms and

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we'll get into a couple of them today. Now and

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again released March of 23. and tunes on the

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battlefield. But Dana is a 15 -time winner at

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the Madison Area Music Association Awards, Acoustic

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Guitars of the Year 2019, Folk Americana Performer

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of the Year 2020, and Best Female Vocalist 2021.

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Dana, thank you so much for being on the show

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and sharing your story today. Of course. Thanks

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for having me. How are things in... Oh my gosh,

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I can't believe I'm doing this. I'm the guy that

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doesn't like to talk about the weather, but I'm

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in Pensacola, Florida. You're in Madison, Wisconsin.

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What does the first week of May look like up

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there in Madison? Oh, it's beautiful, of course.

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We look forward to it every year. The winter

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this year was incredibly mild compared to what

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we usually have. So it felt like we definitely

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had an early spring. Yeah, everything's in full

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bloom. We had some heavy rain, but it's needed.

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It's beautiful, of course. Perfect time of year

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for Madison. Now... Didn't know that that was

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kind of be a lead -in for one of the songs that

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I wanted to highlight But we'll bounce around

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a little bit on the episode here past present

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and future but on the song Everything is moving.

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I love this. I love when artists do this They

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call out their hometown of their current locale

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and you sing Oh Madison how I love this town.

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There's plenty of room to grow and love is all

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around so it sounds like you have set your roots

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there in Madison and tell me a little bit about

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the area and the scene and Yeah, I really have

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you know it's it's interesting. I've lived here

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probably Going on 12 years now, and you know

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my partner and I are we're kind of wanderers

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You know we live on we kind of live on the road

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from time to time and you know a friend of ours

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was born and raised here in Madison and and had

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said you know he was into my music and he's like

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you know madison would really love your music

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and you would just love madison music and we

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were like well let's you know let's go check

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it out well see what it's like you know so i

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did a string of open mics here for about a week

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and yeah the response was great and i love that

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there was so much accessible music this was probably

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about 20 2013 so yeah maybe 11 years somewhere

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around there and uh it was amazing there was

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open mics every night of the week there was such

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great talent great musicians a really eclectic

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taste of music, which I really loved. And I went,

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you know, this might be the place to be. Let's

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hang out. Let's just, you know, we'll spend like

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a year or two here and we'll kind of soak in

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the scene, then we'll move on. But fast forward,

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you know, 11 years. We're like, OK, it's we just

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really we really kind of fell in love. And the

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music scene is definitely a big part of that.

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I do I do a lot here. I wear many hats and I've

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been in town a long time. So and it's been a

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really supportive, nurturing place to be. Isn't

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it great how that happens and they the community

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takes you in you take all of it in and you start

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meeting meeting like -minded folks and Absolutely.

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Absolutely. That's how you know, you found a

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good spot now when you were Growing up or your

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birthplace and where you were when you were five

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or ten or fourteen years old What were some of

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those? Where'd you live back then? Oh, I was

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originally bounced around. My family moved around

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a lot, but mostly in like northern Illinois,

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kind of Lake County, kind of that area, stone's

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throw from the Wisconsin border. So I kind of

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grew up there. And then I went to college at

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Western Illinois University, which is more southern.

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I lived there for maybe about a couple, I went

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to college and then I just kind of had nowhere

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else to go. So I was like, oh, let's, you know,

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stay here. We'll just. And, you know, I kind

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of started writing songs there around in my college

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town. And then, yeah, bounced around for a while

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and then moved to Madison in 2013. So stayed

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pretty active with music in Illinois and stuff,

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but didn't really find my group until I officially

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moved here. I know you've made your mark on that

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area. Have some of the players that have appeared

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on your previous records, are those people that

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you've picked up along the way? And are those

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all good friends or is it sometimes just someone

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that's like available to? play on the record

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or are these people that you have relationships

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with? Oh, that's a great question. Yeah, that's

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a great question, actually, because there are

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plenty of really talented session musicians and

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really all over Wisconsin area and the Midwest

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in general. But there's definitely a lot of great

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hired guns, as we would say, for sure. But I'm

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lucky enough to have found some people that are

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pretty consistent playing with me for several

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years now. Jenna Jonas being one of them. We've

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been together almost 10 years. She's been my

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drummer. Pretty exclusively, I think I might

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have just lightly jammed with a couple others

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for fun, but whenever it comes to shows and albums

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and stuff like that, it's always Jenna Jonas

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on drums for sure. And I was lucky enough to

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meet her through working with Madison Girls Rock

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Camp and we connected there. And yeah, it's been

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a really beautiful relationship with her for

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sure. And Dan Kennedy was an addition about halfway

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through. I'd say it's hard to say. Dan's one

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of those guys that just kind of comes into your

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life and you feel like you've known each other

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forever. that you can't remember when you met.

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I think we met and knew of each other for a handful

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of years, but we didn't really start hanging

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out or jamming together. Until basically I kind

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of needed a good hired gun and I just kept using

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him. He kept coming back for some reason He's

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so so good and he's just such a great great energy

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and a great presence and great vibe that it's

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hard not to default to him now You know every

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time it's like obvious, you know when it comes

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time for the band because I do solo I do duo

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with Jenna or when I need a full band or bass

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player like a solid person to record with It's

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always Dan Kennedy for sure. I love Dance I don't

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want to interrupt but his sound on the now and

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again album. I mean every track He's got a huge

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presence on there He really does and I'm so happy

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about that and that's what's great about his

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playing is he does such a good job of staying

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So comfortably in a mix whether it's live or

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recording yet at the same time making his presence

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known, you know, like you're like, man, I really

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love that bass line or I really love that bass

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player. So he's he's really good about that fine

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line for sure. And then of course, some any harmonies

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that are on my album, most of the harmonies are

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my good friend, Kelly Hepper. She's tremendous.

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songwriter herself and puts out several recordings

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and plays a lot of shows. And I always call her

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my sister in harmony and she just kind of, they

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just flow out of her. She's always got these

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brilliant ideas and she's just willing to layer

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and layer, you know, and always give me the time.

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And we do live shows together too. So yeah, it's

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great. I'm really lucky. Jenna's playing as well.

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I really like her symbol work, some of the swells

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and crashes and she can go. She's very tasteful.

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You know, some of the songs call for a little

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break neck. Period and she can she can get into

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the high tempo and then I really like her versatility

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Oh, yeah, she's incredibly versatile for sure.

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Very very good because some of these songs have

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a little bit of a cataclysmic portion or section

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That the album now and again really really takes

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you for a ride I was you and I were talking about

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it before we started the call. I shared my my

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first take was Well, this is great. I want to

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put the invitation out here. I'd love for Dana

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to be on the show and when we set it up then

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I got deep into listening and You know, there's

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a difference between the first listen the second

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the third the fourth and all of a sudden I'm

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not you know That's cool to hear that's I like

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that's interesting feedback to get I don't always

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you know the thing about that album is One of

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the reasons it's called Now and Again is there's

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several songs on there that were done with either

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like a previous band, like it went out on an

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album I did with a band that I had. And, you

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know, they're my originals, but they kind of

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went out under a different name. And then a couple

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of other songs were on another album I did, but

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it was super DIY. And I just don't think it sounded

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that great. You know, sometimes I'm all about

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that DIY spirit and several of my albums will

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just stay. untouched and it's still up you know

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for documentation purposes on my band campsite

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and things like that to just you know make sure

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because i'm a documentarian with my albums i

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do it just because i want the i want the document

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you know so and as a lot of us kind of journal

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you know the chronology stamp yep exactly here's

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that one time i wrote those songs you know And

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I want them down before I forget. So one of those

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things, your legacy as it were, even if it just

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lives in a box for you because no one buys CDs

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anymore. But I just I really felt like these

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songs were really great. And I wanted. to do

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them justice and I really wanted them on a really

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clean top notch recording with just like top

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notch musicians and I wanted them out under my

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name like out from under the band name and kind

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of so I can put them up on the streaming platforms

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and have them more accessible because before

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they were just kind of sitting you know what

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I mean and not really out on the streaming things

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and it's kind of hard to do that so you want

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everything kind of under your name as an artist

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and to make sure it all kind of goes so and I

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had five brand new songs too so I was like well

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I have this hodgepodge of songs and My partner

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was like, well, how about now and again? Here's

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some songs from now, and here's some songs I'm

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going to do again. So that's kind of where the

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album came from. And it kind of ended up being

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an interesting hodgepodge. I was pleased with

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kind of how it came out and where the flow went

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with it, for sure. So songs like The Invitation

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and Everything Is Moving, as you mentioned before.

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or the song you mentioned earlier, those were

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on a previous album that I had done that it was

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decent but it just, you know, it was super DIY

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kind of in -home studio thing and I just really

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felt like I wanted to take them to a pro studio.

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and get a pro studio treatment. I'm really glad

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I did, because I think they just sound phenomenal.

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And on that particular album, the lead guitar

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is done by Matthew Lesniak. He plays with a great

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five -piece band called Cruisin' Round. And he

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was a hired gun for this project, for sure, because

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I was like, I need a lead guitar player. I just

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want someone who could just come in and just

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rip some stuff. And then, you know what I mean?

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And he did, man. He wailed for sure. So I was

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really lucky to have him for that album in particular.

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So and then, of course, Toons on the Battlefield.

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You know, my friend Dustin, he was my studio

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guy because we did that album at Wyrmglas Studios

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or I'm sorry, not Toons on the Battlefield. What

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was it? I'm mixing them up. Dan Kennedy has played

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lead guitar in at least one of my albums, too,

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because he's just that guy. He plays bass. He

00:12:35.919 --> 00:12:38.639
plays guitar. He'll sing your heart out. He's

00:12:38.639 --> 00:12:42.700
just great. There's the Kill the Rockstar EP.

00:12:43.600 --> 00:12:47.779
Yeah, that's right. That's right. So Reclamation

00:12:47.779 --> 00:12:50.860
was the DIY album. And I did lead guitar on that.

00:12:50.980 --> 00:12:53.220
I was still kind of learning. And I think it's...

00:12:53.159 --> 00:12:56.480
Cool for what it is, in my own opinion. But Dan

00:12:56.480 --> 00:12:58.620
Kennedy Wales, you know, and Matt Wales. And

00:12:58.620 --> 00:13:01.820
I just really wanted someone who Wales to play

00:13:01.820 --> 00:13:03.759
on the invitation and to play on everything is

00:13:03.759 --> 00:13:06.899
moving. So I'm glad I did a rerecord. Ultimate

00:13:06.899 --> 00:13:08.899
Creator is one from now and again that used to

00:13:08.899 --> 00:13:11.779
be under an old band I was in. And I really wanted

00:13:11.779 --> 00:13:14.220
to make sure that that song, you know, got some

00:13:14.220 --> 00:13:16.759
rip and pro studio treatment and kind of solid

00:13:16.759 --> 00:13:19.259
and under my name. So, yeah, I was really pleased.

00:13:19.659 --> 00:13:22.669
It's fun. It's a lot of fun. Dana I like I like

00:13:22.669 --> 00:13:26.389
talking about an artist back catalog whether

00:13:26.389 --> 00:13:29.950
it's a musician or anybody that creates things

00:13:29.950 --> 00:13:32.769
and I feel like you have a message in your music

00:13:32.769 --> 00:13:36.029
that I feel like you're trying to share or impart

00:13:36.029 --> 00:13:39.730
on people that to just get out there and Create

00:13:39.730 --> 00:13:42.250
if you've got the urge you got the edge and don't

00:13:42.250 --> 00:13:45.629
worry about doing something that maybe isn't

00:13:45.629 --> 00:13:48.940
as sparkling clean and perfect and that You won't

00:13:48.940 --> 00:13:51.779
be a little, not to say embarrassed about, I

00:13:51.779 --> 00:13:54.240
mean, five years or six years like, you know,

00:13:54.240 --> 00:13:56.539
I think we live in this age, especially with

00:13:56.539 --> 00:13:58.919
social media, where all the pictures have to

00:13:58.919 --> 00:14:01.700
be perfect. And it's no, let's take that picture

00:14:01.700 --> 00:14:06.679
again. Let's get another absolutely perfect portrayal

00:14:06.679 --> 00:14:09.419
of us in this moment. And I think there's a lot

00:14:09.419 --> 00:14:13.240
of pressure maybe on people to just not put out

00:14:13.240 --> 00:14:15.320
something that's a little rough around the edges.

00:14:16.460 --> 00:14:19.360
Yeah, I'll agree with that. I'm always one of

00:14:19.360 --> 00:14:22.100
those though that kind of you kind of look back

00:14:22.100 --> 00:14:23.860
it's kind of like looking back on yourself when

00:14:23.860 --> 00:14:26.639
you were a kid and you're kind of innocence and

00:14:26.639 --> 00:14:29.100
naivety and maybe little mistakes that you made

00:14:29.100 --> 00:14:31.360
or little but now as a grown -up you kind of

00:14:31.360 --> 00:14:33.500
see that as beautiful you know like that was

00:14:33.500 --> 00:14:36.919
so I was I was cute I was innocent I was naive

00:14:36.919 --> 00:14:39.879
but I did this cute thing and like you know and

00:14:39.879 --> 00:14:41.519
now that's kind of beautiful I was a beautiful

00:14:41.519 --> 00:14:44.549
mess and that kind of got me to this, you know,

00:14:44.710 --> 00:14:47.879
grown up or whatever, kind of where I'm at. consider

00:14:47.879 --> 00:14:50.200
yourself, you know, so if you look back at yourself

00:14:50.200 --> 00:14:52.519
like that, but I look at it kind of like that,

00:14:52.919 --> 00:14:55.240
you know, so, you know, as musicians especially

00:14:55.240 --> 00:14:57.440
too, if you are fortunate enough like I was to

00:14:57.440 --> 00:14:59.879
make music from a really young age, you know,

00:14:59.899 --> 00:15:01.940
maybe you might catch a recording of when you,

00:15:01.960 --> 00:15:04.019
you know, quote unquote, first started out and

00:15:04.019 --> 00:15:06.000
it's rough and it's out of tune and it's this

00:15:06.000 --> 00:15:08.159
and you're a little pitchy or you're, you know,

00:15:08.240 --> 00:15:10.519
you know, the song's kind of bleak or it's simple

00:15:10.519 --> 00:15:12.460
and it's just nothing and you wouldn't do anything

00:15:12.460 --> 00:15:14.340
with it, but there's got to be that part of you

00:15:14.340 --> 00:15:16.950
that's like... That's beautiful. Like, listen

00:15:16.950 --> 00:15:18.830
to that. That was me just starting out. I was

00:15:18.830 --> 00:15:21.230
just getting my feet wet. I did it myself. I

00:15:21.230 --> 00:15:23.409
didn't wait for anybody. I didn't, you know,

00:15:23.570 --> 00:15:25.409
I didn't make anything dependent on anything.

00:15:25.409 --> 00:15:27.590
I just did that. And I really appreciate where

00:15:27.590 --> 00:15:29.730
that is. So I think that's one of the reasons

00:15:29.730 --> 00:15:32.009
I kind of do celebrate that kind of stuff, just

00:15:32.009 --> 00:15:34.809
because I see beauty in it, I suppose. And I

00:15:34.809 --> 00:15:37.389
see, you know, accomplishment in it. And I see

00:15:37.389 --> 00:15:39.929
it as good time markers, you know, and good and

00:15:39.929 --> 00:15:42.230
just personal journey markers, so to speak, to

00:15:42.230 --> 00:15:44.129
just show where you are and where you're going,

00:15:44.210 --> 00:15:47.210
where you're at. And where you've been, you know,

00:15:47.289 --> 00:15:50.090
so yeah, totally I'll be on that with on board

00:15:50.090 --> 00:15:52.629
with that for sure. That's wonderful. I think

00:15:52.629 --> 00:15:55.049
there's in life, you know, sometimes you just

00:15:55.049 --> 00:15:57.549
let it fly. And like you said, you can look back

00:15:57.549 --> 00:16:01.210
and snicker a little bit at a time period of

00:16:01.210 --> 00:16:06.570
something you did, you wore or just oops. You

00:16:06.570 --> 00:16:08.950
ever get around people that look at them, you

00:16:08.950 --> 00:16:11.029
know, older folks that see pictures of themselves

00:16:11.029 --> 00:16:13.649
from 1988 and they say, oh, my gosh, look at

00:16:13.649 --> 00:16:16.259
my hair. Look at that. sure i was wearing oh

00:16:16.259 --> 00:16:20.379
fanny pack all right yep absolutely yep totally

00:16:20.379 --> 00:16:22.100
so and that's beautiful you know and you could

00:16:22.100 --> 00:16:24.679
say you were there so and then particularly for

00:16:24.679 --> 00:16:27.240
musicians uh you know artists of all kinds for

00:16:27.240 --> 00:16:30.340
sure but uh musicians i think it's uh particularly

00:16:30.340 --> 00:16:36.049
easy to kind of self judge or self even just

00:16:36.049 --> 00:16:38.070
self -examine too much, you know what I mean,

00:16:38.230 --> 00:16:40.950
like kind of unhealthy ways, you know what I

00:16:40.950 --> 00:16:43.809
mean, that are kind of not really serving, you

00:16:43.809 --> 00:16:46.370
know, kind of really not moving forward at all.

00:16:46.929 --> 00:16:48.710
And it's important to just keep doing it and

00:16:48.710 --> 00:16:50.490
keep doing it no matter what it sounds like,

00:16:50.529 --> 00:16:52.289
no matter what it does. So a lot of my songs

00:16:52.289 --> 00:16:55.580
are... You know for all kinds of creators I suppose

00:16:55.580 --> 00:16:57.440
and all kinds of people on any kind of a journey

00:16:57.440 --> 00:17:00.100
But they tend to resonate with music makers for

00:17:00.100 --> 00:17:02.600
sure which I guess makes sense because that's

00:17:02.600 --> 00:17:05.099
kind of Coming from a music maker, you know,

00:17:05.259 --> 00:17:07.200
it's kind of generally what I can't help but

00:17:07.200 --> 00:17:10.619
write about so And you teach as well. You're

00:17:10.619 --> 00:17:15.240
a guitar instructor Yeah, primarily I coach with

00:17:15.240 --> 00:17:17.619
international nonprofit organization called girls

00:17:17.619 --> 00:17:20.839
rock camp. They're in several states and there's

00:17:20.750 --> 00:17:22.930
likely a couple girls rock camps in Florida,

00:17:23.029 --> 00:17:25.849
I'm sure. A lot of states all over the country

00:17:25.849 --> 00:17:27.950
have them in a couple countries in Europe. I

00:17:27.950 --> 00:17:30.829
think there's a girls rock camp in Brazil. Yeah,

00:17:30.829 --> 00:17:32.930
it's a phenomenal organization. Madison's, I

00:17:32.930 --> 00:17:34.849
think, is one of the best, of course. I'm biased,

00:17:34.849 --> 00:17:38.470
but I think Madison's is just a really tremendous

00:17:38.470 --> 00:17:40.970
camp that's staffed by all professional female

00:17:40.970 --> 00:17:44.170
musicians. And we take girls ages eight to 18.

00:17:44.289 --> 00:17:46.109
They don't have to have any experience whatsoever.

00:17:46.150 --> 00:17:49.190
And we spend a week and we teach them how to

00:17:49.190 --> 00:17:51.269
be in a rock band. or any kind of band really

00:17:51.269 --> 00:17:54.650
they learn guitar and bass drums keyboards vocals

00:17:54.650 --> 00:17:57.309
they form bands they write an original song together

00:17:57.309 --> 00:18:00.329
and then they record in a pro studio and then

00:18:00.329 --> 00:18:02.390
they get up at a you know one of the major venues

00:18:02.390 --> 00:18:05.150
in town and play a big showcase for everybody

00:18:05.150 --> 00:18:07.609
and it's a really really great time very rewarding

00:18:07.609 --> 00:18:10.490
experience um so primarily i teach and coach

00:18:10.490 --> 00:18:11.990
guitar with them but i've got a couple students

00:18:11.990 --> 00:18:16.589
i see in private too yeah it's so cool um as

00:18:16.589 --> 00:18:19.789
i get older you know you see If you have a talent

00:18:19.789 --> 00:18:23.490
like you do, you can be so transformative in

00:18:23.490 --> 00:18:26.509
a young person's life that expresses an interest

00:18:26.509 --> 00:18:29.329
and maybe it's an instrument. That's got to be

00:18:29.329 --> 00:18:32.759
a very satisfying part of what you do. Oh, absolutely

00:18:32.759 --> 00:18:34.920
it is, absolutely it is. And if you're lucky

00:18:34.920 --> 00:18:38.440
enough like I am to have been with them for a

00:18:38.440 --> 00:18:41.359
long time, for over a decade, I plugged in with

00:18:41.359 --> 00:18:44.220
them pretty quickly when I moved here. And I'm

00:18:44.220 --> 00:18:46.180
fortunate enough to coach every session and we

00:18:46.180 --> 00:18:48.839
do three sessions every summer. So probably every

00:18:48.839 --> 00:18:52.059
summer we're churning out about around 150 kids

00:18:52.059 --> 00:18:55.789
who have taken the program. Um, each summer.

00:18:56.089 --> 00:18:58.170
So for 10 summers, like that's, I don't know

00:18:58.170 --> 00:18:59.470
how many kids and we have a lot of kids that

00:18:59.470 --> 00:19:02.349
come back every summer for sure. But, uh, it's,

00:19:02.349 --> 00:19:05.569
it's really fascinating to see after 10, 11 years

00:19:05.569 --> 00:19:08.650
of it. Uh, I have kids that I've taught, you

00:19:08.650 --> 00:19:11.789
know, at 12, 13 years old, eight, as young as

00:19:11.789 --> 00:19:13.930
eight, nine years old. And now they're in college

00:19:13.930 --> 00:19:15.829
or in the, or they're recording their own albums.

00:19:16.250 --> 00:19:18.670
They're forming bands, they're music majors.

00:19:18.809 --> 00:19:21.470
They're kind of taking it into their, into their

00:19:21.470 --> 00:19:23.769
adult years too. And it's, yeah. That's crazy.

00:19:24.390 --> 00:19:27.269
That's crazy. Well, I want to highlight a couple

00:19:27.269 --> 00:19:29.990
of songs here on now and again. And I don't know

00:19:29.990 --> 00:19:32.130
if these are some of the older ones or current

00:19:32.130 --> 00:19:36.730
current batch, but on the invitation. Yeah, I

00:19:36.730 --> 00:19:39.490
love this line because we're we're programmed

00:19:39.490 --> 00:19:41.589
with a default setting to believe that we're

00:19:41.589 --> 00:19:44.450
always defective. And then you just come out

00:19:44.450 --> 00:20:01.779
and declare I'm done being defective. default

00:20:01.779 --> 00:20:08.579
setting Oh, to believe that we're always defective

00:20:08.579 --> 00:20:14.480
I'm done being defective Oh, this is an invitation

00:20:14.480 --> 00:20:19.500
Can't hold back, don't run away I'm done with

00:20:19.500 --> 00:20:23.880
disillusions Running rabidly on a train of vivid

00:20:23.880 --> 00:20:29.180
pictures that is not my own So convincing as

00:20:29.180 --> 00:20:59.759
reality, but I can feel That one was kind of

00:20:59.759 --> 00:21:02.269
a goose bumps. moment for me when I heard it,

00:21:02.289 --> 00:21:03.990
I think on the third listen, I was like, Oh,

00:21:03.990 --> 00:21:07.109
wow, I love that. I kind of feel that when I

00:21:07.109 --> 00:21:09.529
sing that line, I think it's kind of what that

00:21:09.529 --> 00:21:11.890
kind of what that line was made for, I guess,

00:21:12.029 --> 00:21:15.569
is just that kind of the song in general is kind

00:21:15.569 --> 00:21:18.549
of, I don't know, I would say a lot of times

00:21:18.549 --> 00:21:20.789
when I introduce the song, I say I kind of look

00:21:20.789 --> 00:21:25.029
at, you know, the human brain as a computer to

00:21:25.029 --> 00:21:27.210
be programmed and reprogrammed. And I think a

00:21:27.210 --> 00:21:30.700
lot of times we As we grow older, we kind of

00:21:30.700 --> 00:21:33.680
look back and we look at the way our brains function

00:21:33.680 --> 00:21:36.579
and thoughts we have or behaviors we have and

00:21:36.579 --> 00:21:38.460
we go, man, you know, I just, I don't think that

00:21:38.460 --> 00:21:40.339
was me. I don't think I did that. I think that's

00:21:40.339 --> 00:21:43.359
my dad's voice or I think that's my mom's voice

00:21:43.359 --> 00:21:45.779
or it's my school's voice or it's the news or

00:21:45.779 --> 00:21:48.660
it's, you know, society. I think someone programmed

00:21:48.660 --> 00:21:50.799
that into me. You know, I don't think that's

00:21:50.799 --> 00:21:54.400
mine. And I think a lot of times you can accept

00:21:54.400 --> 00:21:58.380
what I would call an invitation. to program yourself,

00:21:58.599 --> 00:22:01.079
you know, to kind of recognize that that's just

00:22:01.079 --> 00:22:04.619
that's not yours. You know, you might have just

00:22:04.619 --> 00:22:06.519
taken hold of it because you had nothing else.

00:22:06.539 --> 00:22:08.279
You didn't know how else to do it. You know,

00:22:08.779 --> 00:22:10.380
we all kind of don't know when we're growing

00:22:10.380 --> 00:22:13.819
up. So it feels like we're kind of programmed

00:22:13.819 --> 00:22:16.539
in a certain way to think certain things, behave

00:22:16.539 --> 00:22:19.099
certain ways. And you kind of find out, oh, man,

00:22:19.099 --> 00:22:20.599
I don't think that's me. I feel like if I had

00:22:20.599 --> 00:22:22.420
a choice in that, I would not have done it that

00:22:22.420 --> 00:22:25.970
way. You know, so. That's kind of what the song's

00:22:25.970 --> 00:22:28.430
about in general is just kind of you know working

00:22:28.430 --> 00:22:31.950
with default programs And kind of inputting something

00:22:31.950 --> 00:22:34.529
new kind of taking control of the motherboard

00:22:34.529 --> 00:22:38.869
as I as I say Yes, and and it's so great that

00:22:38.869 --> 00:22:42.390
you Insert that in the song. I think people need

00:22:42.390 --> 00:22:45.829
to hear things like that that maybe tap into

00:22:45.829 --> 00:22:49.009
something deep I remember I can remember back

00:22:49.009 --> 00:22:52.150
to say second grade and I had this feeling like

00:22:52.410 --> 00:22:54.289
Don't know if it was something's wrong with me,

00:22:54.289 --> 00:22:57.009
but something about me feels different. I don't

00:22:57.009 --> 00:22:59.650
feel like I'm like the other kids I don't I didn't

00:22:59.650 --> 00:23:02.569
feel like I was Completely unlike them, but it

00:23:02.569 --> 00:23:05.049
was this feeling and then it carried all through

00:23:05.049 --> 00:23:08.329
high school And for a long long time and yet

00:23:08.329 --> 00:23:12.029
there's a lot of adults out there. Maybe Somebody

00:23:12.029 --> 00:23:14.089
like you listening to the show right now if you're

00:23:14.089 --> 00:23:16.130
listening and you've always been carrying this

00:23:16.130 --> 00:23:19.109
feeling that something that you're defective

00:23:20.009 --> 00:23:23.609
Tap into what Dane is saying there. It's It may

00:23:23.609 --> 00:23:26.190
be I think you say I'm done with dissolutions.

00:23:26.930 --> 00:23:29.930
I think that yeah, I think part of songwriting

00:23:29.930 --> 00:23:34.250
for me is Like kind of a lot of times identifying

00:23:34.250 --> 00:23:37.309
kind of what's what's wanting to come forward

00:23:37.309 --> 00:23:40.490
and Then saying the thing that comes forward

00:23:40.490 --> 00:23:42.670
so like and that's a big part of it for me as

00:23:42.670 --> 00:23:45.369
someone who kind of uses You know songwriting

00:23:45.369 --> 00:23:48.119
as a mantra you know, kind of prayers, for lack

00:23:48.119 --> 00:23:50.859
of a better term, you know, kind of here's what's

00:23:50.859 --> 00:23:52.839
going on, here's how it smells, here's how it

00:23:52.839 --> 00:23:55.660
tastes, here's how it feels, and then here's

00:23:55.660 --> 00:23:57.579
what I'm going to do, like here's what I'm going

00:23:57.579 --> 00:23:59.220
to do as a result, or like here's what I want

00:23:59.220 --> 00:24:01.700
to do, or here's what the truth is. A lot of

00:24:01.700 --> 00:24:04.240
times I'll do that kind of in a chorus, you know,

00:24:04.460 --> 00:24:07.900
so for, you know, kind of recognizing the default

00:24:07.900 --> 00:24:10.339
programming of feeling that there's just something

00:24:10.339 --> 00:24:13.480
defective, you know, and just realizing it's

00:24:13.480 --> 00:24:17.309
a program, you know, the saying, especially loudly

00:24:17.309 --> 00:24:21.029
for me, I'm done being defective, is I think

00:24:21.029 --> 00:24:22.990
what unleashes the power of a song when you write

00:24:22.990 --> 00:24:26.769
a song, or what can unleash the power of a song

00:24:26.769 --> 00:24:29.569
that you write, kind of having these bold statements

00:24:29.569 --> 00:24:32.930
of what you want, so to speak. A lot of my songs

00:24:32.930 --> 00:24:34.609
kind of have these bold statements of what I

00:24:34.609 --> 00:24:39.890
want or what I would like to see, I guess. And

00:24:39.890 --> 00:24:43.309
then a song like The Great Alone, one of the

00:24:43.309 --> 00:24:45.759
verses, there was a time when I scribbled, one

00:24:45.759 --> 00:24:48.779
dozen suicide notes for the world I leave behind

00:24:48.779 --> 00:24:51.779
one to my love one to my best friends one to

00:24:51.779 --> 00:24:54.680
my family so that leaves nine more and you say

00:24:54.680 --> 00:24:57.140
and then there were nine addressed to me who

00:24:57.140 --> 00:24:59.640
would have known that I could write about pain

00:24:59.640 --> 00:25:03.500
so eloquently so truthfully and yet I kick and

00:25:03.500 --> 00:25:05.859
scream and try to fight whenever evolution comes

00:25:05.859 --> 00:25:10.839
for me what a powerful confession there how did

00:25:10.839 --> 00:25:13.920
this song come about was it an emotional process

00:25:13.920 --> 00:25:18.700
writing the song Yes. I mean, it definitely was.

00:25:20.220 --> 00:25:22.440
I mean, first of all, I love that you got all

00:25:22.440 --> 00:25:24.099
the lyrics right. That's great. It's rare when

00:25:24.099 --> 00:25:26.500
someone reads the lyrics back and gets them right.

00:25:26.700 --> 00:25:29.279
That's awesome. I tried. No, that's great. And

00:25:29.279 --> 00:25:31.880
you did really well. That's awesome. And it's

00:25:31.880 --> 00:25:34.859
also kind of, you know, I don't know. I think

00:25:34.859 --> 00:25:38.700
that a lot of times it's important to hold space

00:25:38.700 --> 00:25:43.019
for the things that are just really, really heavy.

00:25:43.279 --> 00:25:45.819
you know really heavy and I mean just really

00:25:45.819 --> 00:25:50.099
heavy and I think sometimes you know we a lot

00:25:50.099 --> 00:25:53.680
of times try to put a sav on it you know we kind

00:25:53.680 --> 00:25:56.279
of try to we don't want to talk about it or we

00:25:56.279 --> 00:25:58.059
don't want to you know or I want to do something

00:25:58.059 --> 00:26:01.720
about it. you know, especially if it's with things

00:26:01.720 --> 00:26:03.920
like, you know, just the extra thoughts that

00:26:03.920 --> 00:26:06.759
you don't want to have or the extra painful things,

00:26:06.779 --> 00:26:09.920
the things that are really painful, that's really,

00:26:09.920 --> 00:26:12.839
really just in there, you know, and I think it's

00:26:12.839 --> 00:26:16.259
really difficult sometimes to be okay with being

00:26:16.259 --> 00:26:18.940
in that place because it feels torturous, you

00:26:18.940 --> 00:26:21.700
know, and we want out, you know, and I think

00:26:21.700 --> 00:26:24.180
a lot of times the emotion of the fears and the

00:26:24.180 --> 00:26:27.240
sadness feels like torture in itself and we want

00:26:27.240 --> 00:26:30.460
out, you know. But I think that when you actually

00:26:30.460 --> 00:26:34.859
meet it and you embrace it and you hold it, you

00:26:34.859 --> 00:26:37.960
know, you kind of end up seeing a mirror, so

00:26:37.960 --> 00:26:40.779
to speak, you know, things kind of all your answers

00:26:40.779 --> 00:26:44.240
kind of look you in the face, as it were, if

00:26:44.240 --> 00:26:47.500
you're kind of allow yourself to meet it. I suppose

00:26:47.500 --> 00:26:50.920
if that song kind of reference, I suppose that's

00:26:50.920 --> 00:26:53.599
how I would put it in a general sort of nutshell.

00:26:54.099 --> 00:26:56.420
I mean, and it was just a time in my life where

00:26:56.420 --> 00:26:58.599
I really needed it. I needed to, there was too

00:26:58.599 --> 00:27:00.440
much, you know, really horrible things going

00:27:00.440 --> 00:27:05.059
on and, and I was struggling so hard, but I...

00:27:05.099 --> 00:27:07.119
needed to hold space for the beauty of where

00:27:07.119 --> 00:27:08.940
I was kind of like we were talking earlier, you

00:27:08.940 --> 00:27:11.259
know, when it's kind of a mess, you know, and

00:27:11.259 --> 00:27:15.200
as an adult, our messes are really messy. They're

00:27:15.200 --> 00:27:17.240
extra messy than when they were when you were

00:27:17.240 --> 00:27:20.019
a kid. And but we still kind of experienced them

00:27:20.019 --> 00:27:22.599
as children, I think, like the thing inside you

00:27:22.599 --> 00:27:25.339
is a child that's experiencing it. And it kind

00:27:25.339 --> 00:27:27.160
of feels that way. So I think that, you know,

00:27:27.220 --> 00:27:29.740
that song for me kind of holds space for that

00:27:29.740 --> 00:27:32.460
child to just kind of it's OK, you can feel that

00:27:32.460 --> 00:27:34.859
that's OK to feel that write it all out. sing

00:27:34.859 --> 00:27:38.220
it all out but at the same time like we're always

00:27:38.220 --> 00:27:40.319
everything's constantly moving you know and that's

00:27:40.319 --> 00:27:41.579
kind of part of the inspiration of that other

00:27:41.579 --> 00:27:44.200
song is everything's in constant motion so be

00:27:44.200 --> 00:27:47.859
still you know cry that's okay. And there's an

00:27:47.859 --> 00:27:50.339
evolution constantly happening, no matter what

00:27:50.339 --> 00:27:53.059
you're doing. So it's either going to move forward

00:27:53.059 --> 00:27:55.640
or you're going to die. And that's kind of how

00:27:55.640 --> 00:27:57.319
all things are. And if you're not going to die,

00:27:57.619 --> 00:27:59.900
you're probably going to get through it. And

00:27:59.900 --> 00:28:03.299
it's weirdly nihilistic, kind of weirdly dark,

00:28:03.500 --> 00:28:05.579
but kind of comforting to me. Well, I'm not going

00:28:05.579 --> 00:28:08.299
to die. Well, it hasn't killed me yet. So I'm

00:28:08.299 --> 00:28:09.839
probably going to get through it. I'm not just

00:28:09.839 --> 00:28:13.039
going to sit on this couch for 40 years. So something's

00:28:13.039 --> 00:28:17.369
going to move. That's kind of what it does for

00:28:17.369 --> 00:28:22.390
me anyway. Well, I think Dan's bass line opens

00:28:22.390 --> 00:28:45.670
the song and it kind of guides you into it. It

00:28:45.670 --> 00:28:49.529
made itself known and I promptly threw it up

00:28:49.529 --> 00:28:56.069
and out in every which way And then I left myself

00:28:56.069 --> 00:28:59.329
alone right there, crying, shivering, naked,

00:28:59.829 --> 00:29:03.869
feeling strong, feeling blessed in my true form

00:29:15.339 --> 00:29:58.130
you My gosh, and you know the funny thing about

00:29:58.130 --> 00:30:01.089
that was I so that was one from the reclamation

00:30:01.089 --> 00:30:03.950
album It was an earlier album and on that one

00:30:03.950 --> 00:30:06.230
Jenna Jonas actually played bass and drums on

00:30:06.230 --> 00:30:10.029
that one and She came up with that lick. Oh,

00:30:10.089 --> 00:30:12.890
wow We just loved it so much that we asked and

00:30:12.890 --> 00:30:14.930
we're like Dan Do you mind just like Danifying

00:30:14.930 --> 00:30:17.069
that lick and just like adopting that for you

00:30:17.069 --> 00:30:18.950
and he totally not only embraced it but then

00:30:18.950 --> 00:30:21.869
like had some Dan embellishments for later in

00:30:21.869 --> 00:30:23.630
the song too, and it was so good. I'm like, you

00:30:23.630 --> 00:30:25.369
know, I think we need just, this song's just

00:30:25.369 --> 00:30:28.349
all about bass. And I, you know, and I asked

00:30:28.349 --> 00:30:30.150
him kind of last minute. And I was like, I know

00:30:30.150 --> 00:30:31.609
we're just kind of playing straightforward here.

00:30:31.609 --> 00:30:33.430
And I don't think I want to leave guitar on this

00:30:33.430 --> 00:30:35.490
one this time. I kind of just want to hear the

00:30:35.490 --> 00:30:37.970
bass move around, you know? And of course he's

00:30:37.970 --> 00:30:40.369
just, he nailed it. It was so pretty. I was so

00:30:40.369 --> 00:30:43.789
happy. Yeah. There's such a warmth and a depth

00:30:43.789 --> 00:30:47.349
to his sound. And when you hit the chorus in

00:30:47.349 --> 00:30:49.950
the song, I think this is, Maybe my favorite

00:30:49.950 --> 00:30:51.329
song on the album. I don't know. It's either

00:30:51.329 --> 00:30:53.769
this or the invitation But I think the chorus

00:30:53.769 --> 00:30:57.930
is the best one on the album You hit one out

00:30:57.930 --> 00:31:01.009
of the park and over the second fence or whatever

00:31:01.009 --> 00:31:04.029
the old fence I mean because it kind of builds

00:31:04.029 --> 00:31:07.089
it and the music keeps on playing whether I can

00:31:07.089 --> 00:31:10.029
hear it or not I like the seven billion stories.

00:31:10.049 --> 00:31:12.670
So this is like everyone on the planet, right?

00:31:12.730 --> 00:31:16.089
Everyone everybody's singing at once and oh the

00:31:16.089 --> 00:31:19.299
great alone show me how to see that No one can

00:31:19.299 --> 00:31:22.319
sing this part, but me this one got me a little

00:31:22.319 --> 00:31:25.700
emotional. I think I actually kept kept the cheeks

00:31:25.700 --> 00:31:29.460
dry, but it got to me that was one of the things

00:31:29.460 --> 00:31:31.740
that kind of like I was saying earlier is just

00:31:31.740 --> 00:31:34.380
kind of you know, the world's in chaos like everything's

00:31:34.380 --> 00:31:37.279
in constant chaos and you're just like kind of

00:31:37.279 --> 00:31:39.900
in it you know and no one's going through what

00:31:39.900 --> 00:31:42.619
you're going through but you you know so that's

00:31:42.619 --> 00:31:45.259
kind of where that and for me i had this kind

00:31:45.259 --> 00:31:47.279
of transformative moment where i just kind of

00:31:47.279 --> 00:31:49.319
embraced you know what i mean fine this is what

00:31:49.319 --> 00:31:52.599
i am i'm sad i'm alone i'm you know and i just

00:31:52.599 --> 00:31:55.119
i felt my heart open i guess i felt my heart

00:31:55.119 --> 00:31:57.640
that It ended up being called like a capital

00:31:57.640 --> 00:31:59.359
a alone and that's why I called it the great

00:31:59.359 --> 00:32:02.599
alone Yeah, because when my heart opened I just

00:32:02.599 --> 00:32:05.259
I I felt like I was everything, you know, like

00:32:05.259 --> 00:32:07.599
I I went okay I'm the only thing here then I'm

00:32:07.599 --> 00:32:10.500
totally alone, right? So and I just felt I don't

00:32:10.500 --> 00:32:12.259
know It's just this transformative moment where

00:32:12.259 --> 00:32:14.660
I felt my heart open and I felt my sense of alone

00:32:14.660 --> 00:32:17.880
Just kind of expand out into the room and then

00:32:17.880 --> 00:32:19.700
out into the neighborhood and out into the city

00:32:19.700 --> 00:32:23.140
and I kind of Weirdly paradoxically almost felt

00:32:23.140 --> 00:32:26.309
more connected Somehow, you know like well, we're

00:32:26.309 --> 00:32:28.269
all alone. That's there's seven billion of us.

00:32:28.269 --> 00:32:30.710
We're all Kind of have this feeling of alone,

00:32:30.769 --> 00:32:32.710
but we're all here together. So maybe it's just

00:32:32.710 --> 00:32:35.730
one big great alone, you know, right? We're all

00:32:35.730 --> 00:32:38.089
just kind of doing it together as best we can,

00:32:38.369 --> 00:32:40.349
you know, and it's gonna get weird from time

00:32:40.349 --> 00:32:42.549
to time But it's also gonna get really pretty

00:32:42.549 --> 00:32:45.349
so, you know, just kind of have to take it as

00:32:45.349 --> 00:32:47.569
it comes So I'm glad you like that song. Oh,

00:32:47.569 --> 00:32:49.829
I love it. Can't wait to hear it again, you know

00:32:49.829 --> 00:32:52.650
this afternoon. I just Guys if you're listening

00:32:52.650 --> 00:32:54.920
to this show and you haven't and You know, you

00:32:54.920 --> 00:32:57.720
can always put in a podcast on pause So I like

00:32:57.720 --> 00:33:00.700
to say this sometimes pause the episode look

00:33:00.700 --> 00:33:03.839
up Dana Perry if you're on Spotify Apple music

00:33:03.839 --> 00:33:07.160
wherever get this thing in your catalog Get it

00:33:07.160 --> 00:33:09.099
queued up. It's been the next hour with the record

00:33:09.099 --> 00:33:11.079
and come back to this conversation I don't care,

00:33:11.079 --> 00:33:13.779
but you got to hear what we're talking about

00:33:13.779 --> 00:33:19.019
here now also really like the tunes on the battlefield

00:33:19.019 --> 00:33:21.740
album and Some of these songs are particular

00:33:21.740 --> 00:33:24.559
to the time period. Yeah which some people I

00:33:24.559 --> 00:33:27.660
think are still feeling the effects, the aftermath

00:33:27.660 --> 00:33:30.759
of the pandemic and everything like that. But

00:33:30.759 --> 00:33:34.359
I got to say the opener and the closer, I think

00:33:34.359 --> 00:33:38.140
they call the penultimate track all come out

00:33:38.140 --> 00:33:42.039
of this, the collaboration. It speaks to what

00:33:42.039 --> 00:33:44.660
people were going through at that time. But I

00:33:44.660 --> 00:33:47.170
think people still need to hear that song. You

00:33:47.170 --> 00:33:49.930
know, it's really interesting you say that. Somebody,

00:33:50.069 --> 00:33:52.710
I just randomly mentioned a very similar thing

00:33:52.710 --> 00:33:54.829
to me really recently. And I hadn't had anybody

00:33:54.829 --> 00:33:57.269
kind of bring up that song in a minute, but they

00:33:57.269 --> 00:33:59.349
had just kind of gone across it recently and

00:33:59.349 --> 00:34:00.930
went, you know, I still need to hear that song.

00:34:01.849 --> 00:34:04.190
And you know, what's great about that one is

00:34:04.190 --> 00:34:06.309
I, you know, like everybody else, I kind of shut

00:34:06.309 --> 00:34:08.289
down and cried into my laundry pile for like

00:34:08.289 --> 00:34:10.829
a month. And then I kind of, you know, it's like,

00:34:10.909 --> 00:34:12.630
what am I going to do about this? You have to

00:34:12.630 --> 00:34:14.349
do something, you know, I have to do something.

00:34:14.469 --> 00:34:16.949
I can't just sit. I got to do, you know, what

00:34:16.949 --> 00:34:19.429
do I do about this? And, you know, as a musician,

00:34:19.730 --> 00:34:22.630
you know, we were kind of deemed in essential,

00:34:22.929 --> 00:34:24.949
not essential for a little while. But at the

00:34:24.949 --> 00:34:27.389
same time, we felt there were so many people

00:34:27.389 --> 00:34:29.469
that felt like they really needed music right

00:34:29.469 --> 00:34:32.480
now. Right. So that's kind of where the whole

00:34:32.480 --> 00:34:34.480
album came from in general is just kind of speaks

00:34:34.480 --> 00:34:36.860
to what it's like being a musician during a pandemic

00:34:36.860 --> 00:34:40.019
and kind of going through pandemic stuff. But

00:34:40.019 --> 00:34:42.179
you know all I was like no man let's let's you

00:34:42.179 --> 00:34:45.300
know we need a song we need a song that some

00:34:45.300 --> 00:34:47.119
kind of hope something that says hold on let's

00:34:47.119 --> 00:34:49.980
just you know let's let's just hang in there,

00:34:49.980 --> 00:34:52.159
you know. And I thought it would be great to

00:34:52.159 --> 00:34:53.760
connect with other songwriters that I really

00:34:53.760 --> 00:34:56.460
admire and songwriters that really inspired me.

00:34:56.739 --> 00:34:58.739
So Kelly Hepper, of course, I mentioned her earlier.

00:34:59.639 --> 00:35:03.159
She's a big part of that song. And my good friend,

00:35:03.300 --> 00:35:06.619
Kevin Mason, is a big contributor. He's a phenomenal,

00:35:06.860 --> 00:35:08.699
probably one of the most prolific songwriters

00:35:08.699 --> 00:35:11.539
I've ever known. Fantastic guy, too, and just

00:35:11.539 --> 00:35:14.099
really, really genuine soul. So he did a bit

00:35:14.099 --> 00:35:16.019
a lot of work on that album. And of course, Jenna

00:35:16.019 --> 00:35:19.070
Jonas and Dan Kennedy. Travis Ziegler I think

00:35:19.070 --> 00:35:22.090
threw down on that album. Sam Ness, the wonderful

00:35:22.090 --> 00:35:25.110
Sam Ness. Yeah, it was a big collaboration for

00:35:25.110 --> 00:35:27.230
sure. But I was just like, just talk about it,

00:35:27.289 --> 00:35:29.489
man. I'll throw it together. Like everybody write

00:35:29.489 --> 00:35:31.570
a little something or come up with a little something

00:35:31.570 --> 00:35:34.829
and I'll piece it all together somehow. So like

00:35:34.829 --> 00:35:36.989
verse one or whatever was Kevin Mason. And I

00:35:36.989 --> 00:35:39.250
think I wrote the chorus and my friend Kelly

00:35:39.250 --> 00:35:42.769
Hepper helped with some musical stuff. And my

00:35:42.769 --> 00:35:45.239
good friend, Maggie Shays provided some. the

00:35:45.239 --> 00:35:47.039
round, you know, kind of idea for the round at

00:35:47.039 --> 00:35:49.320
the end, which was really cool. So yeah, it was,

00:35:49.320 --> 00:35:51.179
it was really healing to work on. And of course,

00:35:51.360 --> 00:35:53.199
I'm, I don't know if you have checked out my

00:35:53.199 --> 00:35:56.250
website at all, but there's a video of it. We

00:35:56.250 --> 00:35:59.030
did two, we did one where it was all just kind

00:35:59.030 --> 00:36:02.909
of, it was a kind of a collage footage of musicians

00:36:02.909 --> 00:36:05.010
in live stream and in quarantine, because that's

00:36:05.010 --> 00:36:07.170
what we were doing during that time. So it's

00:36:07.170 --> 00:36:09.730
just kind of, especially if you're local to Madison,

00:36:09.909 --> 00:36:12.570
you get to see a lot of Madison local music celebrities,

00:36:12.829 --> 00:36:15.150
as I call them, you know, like kind of prominent

00:36:15.150 --> 00:36:17.269
bands in Madison are good, you know, radio folks,

00:36:17.449 --> 00:36:18.909
kind of people that are in the Madison music

00:36:18.909 --> 00:36:21.889
scene. kind of all participating in the video.

00:36:22.510 --> 00:36:24.309
So the first one was there. And then there was

00:36:24.309 --> 00:36:26.869
a year, one year later to the date, we were able

00:36:26.869 --> 00:36:29.909
to kind of slowly start gathering again. And

00:36:29.909 --> 00:36:32.130
we went ahead and had the original songwriters

00:36:32.130 --> 00:36:35.190
and original contributors do a live shoot of

00:36:35.190 --> 00:36:38.429
the song. So both those videos are up on YouTube.

00:36:39.670 --> 00:36:43.809
Yeah, it's just a kind of a everybody come on

00:36:43.809 --> 00:36:47.329
in here. Come in for a hug. And people just need

00:36:47.329 --> 00:36:49.650
to hear that again. I like just even the references

00:36:49.650 --> 00:36:52.630
to I miss having some change in my pocket I think

00:36:52.630 --> 00:36:54.070
a little jingle in the pocket because you're

00:36:54.070 --> 00:36:57.690
not going to a cash register transaction experience.

00:36:57.789 --> 00:37:01.690
And yeah, yeah One of my favorites was my friend

00:37:01.690 --> 00:37:04.750
Kevin Mason. He said I'm Kind of tired of washing

00:37:04.750 --> 00:37:06.769
my hands and I don't want to change my pants

00:37:06.769 --> 00:37:10.469
That kind of stuff but I was like, oh that's

00:37:10.469 --> 00:37:12.949
great. You're so great. There's some really funny

00:37:12.949 --> 00:37:15.449
lines and quite a few of these songs even on

00:37:16.000 --> 00:37:18.960
now and again, but I think there's one, I think

00:37:18.960 --> 00:37:22.360
it's on, I'll come out of this, this would have

00:37:22.360 --> 00:37:24.619
me, I think it's like a modem or router reference.

00:37:24.780 --> 00:37:28.519
Sometimes you gotta unplug things, wait 10 seconds

00:37:28.519 --> 00:37:30.659
of silence and plug it back in to get it to work

00:37:30.659 --> 00:37:34.920
again. Oh, that is so awesome. Yeah, I was pretty

00:37:34.920 --> 00:37:38.599
proud of that one. That is a personal favorite

00:37:38.599 --> 00:37:40.900
quality of mine for songwriters is when they

00:37:40.900 --> 00:37:44.480
can put a little touch of humor into some heavy

00:37:44.480 --> 00:38:57.199
duty subjects. Yeah, you gotta, you gotta. Dana,

00:38:57.199 --> 00:38:59.760
you've had the experience of playing some festivals

00:38:59.760 --> 00:39:03.539
and small venues. Do you change your approach

00:39:03.539 --> 00:39:06.099
much when you're playing in a little corner of

00:39:06.099 --> 00:39:08.199
a room versus now you're playing in an open -air

00:39:08.199 --> 00:39:11.940
setting? That's a good question, actually. That's

00:39:11.940 --> 00:39:14.860
a really good question. I think a lot of musicians

00:39:14.860 --> 00:39:17.820
probably agree that reading the room is everything.

00:39:18.519 --> 00:39:20.739
I think that it kind of depends on the space

00:39:20.739 --> 00:39:24.619
and the setting. Some for the most part of my

00:39:24.619 --> 00:39:26.739
pick my set list just kind of based off what

00:39:26.739 --> 00:39:29.340
I'm in the mood to play But once in a while depends

00:39:29.340 --> 00:39:31.980
on the show like if I know that I'm gonna be

00:39:31.980 --> 00:39:34.960
Kind of background music as it were a certain

00:39:34.960 --> 00:39:37.059
gig, you know It's kind of a three -hour while

00:39:37.059 --> 00:39:39.599
people are eating sort of a thing a bar setting

00:39:40.110 --> 00:39:42.010
you know, certain festivals or certain patio

00:39:42.010 --> 00:39:44.349
shows, you know, for different outdoor events,

00:39:44.349 --> 00:39:46.750
you know, I might, you know, I'll probably throw

00:39:46.750 --> 00:39:49.030
lots of covers in there and that kind of stuff

00:39:49.030 --> 00:39:50.690
where I'll play, you know, kind of keep it some

00:39:50.690 --> 00:39:52.929
of my more upbeat stuff. Whereas like if I'm

00:39:52.929 --> 00:39:55.409
in kind of a more intimate listening room setting,

00:39:55.409 --> 00:39:57.090
I might bring out some of the heavier stuff,

00:39:57.090 --> 00:39:59.170
keep it more original. Because, you know, of

00:39:59.170 --> 00:40:01.750
course, as an original artist, you're always

00:40:01.750 --> 00:40:03.570
trying to get those songs out there first, you

00:40:03.570 --> 00:40:06.409
know, rather than your wagon wheel cover. You

00:40:06.409 --> 00:40:08.869
know, you're trying to just kind of get the get

00:40:08.869 --> 00:40:10.630
an audience for those songs more than anything,

00:40:10.809 --> 00:40:12.949
so you really take advantage of those. But I

00:40:12.949 --> 00:40:14.789
also, a lot of times when I get approached for

00:40:14.789 --> 00:40:16.869
different shows, I let them know, you know, kind

00:40:16.869 --> 00:40:18.769
of, what are you looking for? Do you want, you

00:40:18.769 --> 00:40:20.909
know, a solo? Do you want a duo? I can bring

00:40:20.909 --> 00:40:22.550
my percussionist with me, or are you looking

00:40:22.550 --> 00:40:26.130
for a full band, kind of big rockin' thing? So

00:40:26.130 --> 00:40:28.650
certain, depending on the gig, it might just

00:40:28.650 --> 00:40:31.150
be me kind of in a corner, all intimate style,

00:40:31.150 --> 00:40:33.530
or it might, you know, be a full band on a big

00:40:33.530 --> 00:40:37.070
stage, kind of festival setting. Which usually

00:40:37.070 --> 00:40:39.840
I'll try to keep my... I might have one or two

00:40:39.840 --> 00:40:41.519
kind of pretty songs in there, but for the most

00:40:41.519 --> 00:40:43.960
part when I have the full band It's just so fun,

00:40:44.179 --> 00:40:45.840
you know, so usually I'll keep a pretty high

00:40:45.840 --> 00:40:49.300
energy set for that do you ever have people walk

00:40:49.300 --> 00:40:52.400
up to you and ask you to play a song and You

00:40:52.400 --> 00:40:54.440
oblige but you just don't have the heart to tell

00:40:54.440 --> 00:40:58.159
them look Get a little more creative. Maybe I've

00:40:58.159 --> 00:41:02.679
been asked to play that 500 times surely there's

00:41:02.679 --> 00:41:04.500
something in that artist catalog that you'd love

00:41:04.500 --> 00:41:10.320
to hear besides The number one hit or I do often

00:41:10.320 --> 00:41:12.840
feel that way mostly because I'm really bad at

00:41:12.840 --> 00:41:16.840
taking requests like I Might play, you know,

00:41:16.920 --> 00:41:22.360
so like I'll play You know, I do Janis Joplin,

00:41:22.519 --> 00:41:24.199
me and Bobby McGee, right? But then all of a

00:41:24.199 --> 00:41:26.380
sudden they're like, do you know Patsy Cline?

00:41:27.039 --> 00:41:29.820
Do you know this other song by Janis? And I'm

00:41:29.820 --> 00:41:32.039
like, no, I mean, I know of that song, but I

00:41:32.039 --> 00:41:35.780
don't know it. And I'm not always solid. My cover

00:41:35.780 --> 00:41:40.840
songs are more fillers. Sometimes, I guess sometimes

00:41:40.840 --> 00:41:43.079
when the drinks are flowing, it gets a little

00:41:43.079 --> 00:41:44.800
later in the night, people feel like, oh, I could

00:41:44.800 --> 00:41:47.260
just go up and approach that person between songs.

00:41:48.909 --> 00:41:51.230
They're just playing whatever, so I don't have

00:41:51.230 --> 00:41:52.949
to. Now, of course, if someone's requesting an

00:41:52.949 --> 00:41:55.230
original song, I will always oblige, just because

00:41:55.230 --> 00:41:57.230
it's cool that they requested an original song.

00:41:57.829 --> 00:42:01.469
But if I do happen to know it, I do get really

00:42:01.469 --> 00:42:03.349
excited. Like, hey, I know that one. I could

00:42:03.349 --> 00:42:08.349
totally play that song. But sometimes I'll get

00:42:08.349 --> 00:42:10.530
requests, and I'll be like, ah, sorry, I don't

00:42:10.530 --> 00:42:13.289
know that one. I'm a big Honey DeFranco fan,

00:42:13.309 --> 00:42:16.710
so I know like 20 Honey DeFranco songs. But you

00:42:16.710 --> 00:42:19.760
got to be kind of... way into the independent

00:42:19.760 --> 00:42:23.800
feminist folk catalog to really appreciate a

00:42:23.800 --> 00:42:29.280
dozen Ani songs. I had some friends, we may be

00:42:29.280 --> 00:42:31.800
around the same age, but I worked in a music

00:42:31.800 --> 00:42:36.719
store in the kind of 99, 2000 time period and

00:42:36.719 --> 00:42:40.179
we had some Ani diehards. Oh yeah, I was going

00:42:40.179 --> 00:42:42.880
to say you probably had Ani for sure. Her fans

00:42:42.880 --> 00:42:48.460
are no joke. They're a hardcore bunch. Well,

00:42:48.579 --> 00:42:51.219
Dana, we could keep going and going. Here we

00:42:51.219 --> 00:42:53.780
are. It's the spring of 24. Are you always writing

00:42:53.780 --> 00:42:56.679
songs? Yeah, that's a good question, too. I mean,

00:42:56.760 --> 00:42:59.159
I wouldn't say I'm always writing. I definitely

00:42:59.579 --> 00:43:01.980
That ebbs and flows, you know, I try to put out

00:43:01.980 --> 00:43:04.000
an album a year at least an album every other

00:43:04.000 --> 00:43:06.719
year I will say it sounds kind of weird to say

00:43:06.719 --> 00:43:10.300
but everything I have written is recorded I don't

00:43:10.300 --> 00:43:12.400
some artists, you know have hundreds of songs

00:43:12.400 --> 00:43:14.219
and they've recorded I've just never really kind

00:43:14.219 --> 00:43:17.260
of been one of those for some reason They don't

00:43:17.260 --> 00:43:20.599
always come as free flowing as that, you know

00:43:20.599 --> 00:43:25.599
I mean I can but I just don't right So I kind

00:43:25.599 --> 00:43:27.619
of curl up with them a little bit longer, but

00:43:27.619 --> 00:43:30.260
I've got a couple things I'm, you know, sort

00:43:30.260 --> 00:43:32.760
of, quote unquote, kicking around the office

00:43:32.760 --> 00:43:34.719
that I've kind of working on. I'm hoping next

00:43:34.719 --> 00:43:37.519
year by next year, you know, I'll have something.

00:43:38.429 --> 00:43:41.309
that I'm ready to put out for sure. But like

00:43:41.309 --> 00:43:42.909
I was saying earlier, I do wear a lot of hats

00:43:42.909 --> 00:43:45.150
in town, so sometimes I don't always have extended

00:43:45.150 --> 00:43:47.590
time like I would like, but I try to make sure

00:43:47.590 --> 00:43:50.449
I travel. I was on the road all month last month,

00:43:50.650 --> 00:43:52.789
and that was good for the soul to just kind of

00:43:52.789 --> 00:43:54.730
tune everything out, do a little songwriter's

00:43:54.730 --> 00:43:58.050
retreat, for one, to just kind of get on the

00:43:58.050 --> 00:44:01.369
road and travel. So, and, you know, play some

00:44:01.369 --> 00:44:03.389
open mics and play with some people. So I usually

00:44:03.389 --> 00:44:05.960
try to tour once a year. decided not to this

00:44:05.960 --> 00:44:08.739
year, not an official tour anyway, so tour of

00:44:08.739 --> 00:44:11.719
open mics. But yeah, so I try to, you know, it

00:44:11.719 --> 00:44:13.340
kind of heads and flows. Sometimes I'll just

00:44:13.340 --> 00:44:15.659
be really flying and all kinds of stuff will

00:44:15.659 --> 00:44:17.559
be coming out and then other times I'll just

00:44:17.559 --> 00:44:20.320
let myself get a little swamped in my other work

00:44:20.320 --> 00:44:22.780
and it kind of takes me away from it. But yeah,

00:44:22.840 --> 00:44:25.340
I try to, I definitely, I'd say between all of

00:44:25.340 --> 00:44:28.219
it, keep myself pretty busy and immersed in music

00:44:28.219 --> 00:44:33.500
things for sure. I could see where being a songwriter

00:44:33.690 --> 00:44:36.349
If you're not careful, you could get a little

00:44:36.349 --> 00:44:38.849
too intense about it and all of a sudden it starts

00:44:38.849 --> 00:44:42.329
to feel like a job. And yeah, for a lot of, yeah,

00:44:42.409 --> 00:44:44.090
a lot of people for sure, especially if you're

00:44:44.090 --> 00:44:46.030
trying to, you know, quote unquote, make a living

00:44:46.030 --> 00:44:49.210
with music and only music, you kind of look at

00:44:49.210 --> 00:44:50.829
your songs as a product and you kind of have

00:44:50.829 --> 00:44:53.690
to churn out the product, so to speak. But I

00:44:53.690 --> 00:44:56.190
think that that can be kind of a pitfall. mentality

00:44:56.190 --> 00:44:59.070
sometimes for musicians and it some people it

00:44:59.070 --> 00:45:01.210
might work for you know, that's and if it works

00:45:01.210 --> 00:45:04.309
for them awesome I've just never been One that's

00:45:04.309 --> 00:45:06.050
that's worked for me like that. It's just kind

00:45:06.050 --> 00:45:13.789
of makes it worse once I make it So I make more

00:45:13.789 --> 00:45:15.889
money when I try not to make money with it so

00:45:15.889 --> 00:45:21.530
right How about maybe an early early influence

00:45:21.840 --> 00:45:24.679
someone that you were listening to at 16 or 17

00:45:24.679 --> 00:45:28.219
years old and Maybe another influence. That's

00:45:28.219 --> 00:45:32.219
kind of the past decade Or it could be a little

00:45:32.219 --> 00:45:36.239
mixed bag of just whoever you like a lot I probably

00:45:36.239 --> 00:45:40.500
have to say That a couple that pop out, you know,

00:45:40.539 --> 00:45:44.139
cuz I was I was born in 85 So, you know all the

00:45:44.139 --> 00:45:47.320
all throughout the 90s There was a lot of kind

00:45:47.320 --> 00:45:49.760
of forward female musicians that I really really

00:45:49.760 --> 00:45:53.210
loved I'd have to say Alanis Morcette's Jagged

00:45:53.210 --> 00:45:55.210
Little Pill got me through junior high all the

00:45:55.210 --> 00:45:59.769
way and she's phenomenal and her vocals are on

00:45:59.769 --> 00:46:03.130
fire of course and she's just loud and so she

00:46:03.130 --> 00:46:05.369
just says it you know and just has these really

00:46:05.369 --> 00:46:08.989
beautiful lyrics that I just are amazing so she

00:46:08.989 --> 00:46:11.070
was really big influence in mine. I also really

00:46:11.070 --> 00:46:13.730
loved Tracy Chapman those first two albums that

00:46:13.730 --> 00:46:17.119
she had just folk hardcore folk. you know, that

00:46:17.119 --> 00:46:20.199
was like really hardcore, early folk music exposure

00:46:20.199 --> 00:46:22.440
to me. I felt like, you know, I was kind of a

00:46:22.440 --> 00:46:24.519
mainstream kid. I didn't get a lot of exposure

00:46:24.519 --> 00:46:27.300
to anybody that wasn't on the radio, you know.

00:46:27.320 --> 00:46:30.719
So as far as like my introduction into like kind

00:46:30.719 --> 00:46:33.260
of more roots, grass rootsy types of vibes, I

00:46:33.260 --> 00:46:35.440
felt like Tracy Chapman was kind of all I was

00:46:35.440 --> 00:46:39.340
offered at the time. So I really embraced that,

00:46:39.420 --> 00:46:41.599
that kind of acoustic guitar, you know, kind

00:46:41.599 --> 00:46:44.380
of stories about people kind of vibe. So I kind

00:46:44.380 --> 00:46:46.980
of really fell in love with that. As far as later

00:46:46.980 --> 00:46:49.199
on you know someone of course introduced me a

00:46:49.199 --> 00:46:51.860
good dear friend of mine introduced me to Ani

00:46:51.860 --> 00:46:54.300
DeFranco when I was in college which is you know

00:46:54.300 --> 00:46:56.800
prime introduction of Ani DeFranco was in college

00:46:56.800 --> 00:47:00.360
so and I of course absolutely fell in love and

00:47:00.360 --> 00:47:02.239
introduced me to this whole world of musicians

00:47:02.239 --> 00:47:05.489
that were not on just on the radio and even that

00:47:05.489 --> 00:47:06.969
sounds weird and out of date people are just

00:47:06.969 --> 00:47:08.789
like on the radio because like there was no streaming

00:47:08.789 --> 00:47:11.230
like there was no internet stuff you know what

00:47:11.230 --> 00:47:13.170
i mean so it was on the radio so that's what

00:47:13.170 --> 00:47:16.210
you were meant you know so if you wanted underground

00:47:16.210 --> 00:47:18.269
you literally had to go underground and find

00:47:18.269 --> 00:47:21.030
tapes and like records and go to shows and do

00:47:21.030 --> 00:47:22.809
that kind of stuff and that's what i really respected

00:47:22.809 --> 00:47:26.250
about ani was she's diy all the way that she

00:47:26.250 --> 00:47:29.989
built a hardcore fan base just by recording tapes

00:47:29.989 --> 00:47:32.929
in her basement and then taking making 50 copies

00:47:32.929 --> 00:47:35.150
and taking a hatchback and going on the road

00:47:35.150 --> 00:47:37.630
and playing gigs and they I remember seeing her

00:47:37.630 --> 00:47:40.070
in an interview like hey you're kind of pioneer

00:47:40.070 --> 00:47:42.289
of DIY spirit like how did you do that before

00:47:42.289 --> 00:47:44.489
internet and before this so it was all about

00:47:44.489 --> 00:47:46.769
the email list just the email or all about the

00:47:46.769 --> 00:47:48.940
mailing list it was snowman That's what I want

00:47:48.940 --> 00:47:52.340
to see. I can't even say snail mail about the

00:47:52.340 --> 00:47:54.920
mailing list. So she would physically mail people

00:47:54.920 --> 00:47:56.840
for every city. Here's when I'm coming to your

00:47:56.840 --> 00:47:58.980
city. And that's how she built her audience.

00:47:59.139 --> 00:48:01.400
It's amazing and inspirational. But yeah, her

00:48:01.400 --> 00:48:03.820
lyrics were so visceral. Her guitar playing was

00:48:03.820 --> 00:48:06.340
insane. And she was just so primal, you know,

00:48:06.340 --> 00:48:08.659
that I just I loved her. She was absolutely huge,

00:48:08.800 --> 00:48:11.500
huge influence from that point out. So I'd say

00:48:11.500 --> 00:48:14.340
my my style, my guitar kind of has like a really

00:48:14.340 --> 00:48:17.599
percussive thump. to it, you know, and that came

00:48:17.599 --> 00:48:21.079
from Ani all the way, all the way. Huge, huge

00:48:21.079 --> 00:48:23.460
Ani DeFranco fan. So definitely throughout college,

00:48:23.719 --> 00:48:25.599
it was all about Ani and Ani -esque artists,

00:48:25.900 --> 00:48:28.380
too. A lot of independent music. And then kind

00:48:28.380 --> 00:48:30.579
of started getting into kind of more roots music,

00:48:31.139 --> 00:48:33.380
like later on, some Rising Appalachia, Trevor

00:48:33.380 --> 00:48:36.760
Hall, Xavier Rudd, and some, you know, a little

00:48:36.760 --> 00:48:39.019
bit of Nakos, some musicians like that that were

00:48:39.019 --> 00:48:41.760
really starting to do a number on me, too. So.

00:48:41.980 --> 00:48:44.019
And then of course, I always got room in my heart

00:48:44.019 --> 00:48:46.619
for the standard blues, you know, anything standard

00:48:46.619 --> 00:48:50.599
blues rock is always going to fill my soul. Love

00:48:50.599 --> 00:48:55.079
it. Oh, I love it. I wanted to read some a claim

00:48:55.079 --> 00:48:57.780
that you received from local sounds magazine.

00:48:57.780 --> 00:49:00.599
This is from a Rick Fett. Perry's vocal range

00:49:00.599 --> 00:49:04.380
is this is what I've discovered as well. Perry's

00:49:04.380 --> 00:49:07.360
vocal range is wide and she can sing with breathy

00:49:07.360 --> 00:49:11.300
delicacy or with grit stretching. to hit the

00:49:11.300 --> 00:49:14.199
higher notes with strength and spot on pitch

00:49:14.199 --> 00:49:18.380
while speaking with utter frankness. That's especially

00:49:18.380 --> 00:49:21.559
on the most recent record now and again. I really

00:49:21.559 --> 00:49:23.800
I don't know if I mentioned this earlier in the

00:49:23.800 --> 00:49:27.139
call, but some of the rapid fire vocals, you

00:49:27.139 --> 00:49:29.260
know, I love learning lyrics and trying to sing

00:49:29.260 --> 00:49:31.320
along. And I like a little bit of a challenge

00:49:31.320 --> 00:49:33.920
there, but I like it. And is that difficult when

00:49:33.920 --> 00:49:36.539
you're you probably know these songs pretty well,

00:49:36.539 --> 00:49:39.619
but to get out there and and sing with that.

00:49:39.849 --> 00:49:43.489
I've just always been in love with, I just always,

00:49:43.769 --> 00:49:47.030
a lot of that too came from a lot of being influenced

00:49:47.030 --> 00:49:50.429
by a lot of really strong kind of female artists

00:49:50.429 --> 00:49:52.909
like, you know, like Ani and like Alanis Morse

00:49:52.909 --> 00:49:55.170
set and just kind of like gritty. I always loved

00:49:55.170 --> 00:49:57.550
the grit and I just felt like. It just kind of

00:49:57.550 --> 00:49:59.570
naturally goes there for me from a lot of my

00:49:59.570 --> 00:50:01.710
influences, but also just because it feels so

00:50:01.710 --> 00:50:05.329
freaking good. It just feels good to have that

00:50:05.329 --> 00:50:07.349
grit. It feels good to sing like that. It just

00:50:07.349 --> 00:50:10.730
feels good in my body, you know? Yes. And to

00:50:10.730 --> 00:50:13.429
in my throat to just kind of, you know, kind

00:50:13.429 --> 00:50:15.449
of just spit something out or just belt it out

00:50:15.449 --> 00:50:17.110
or just yell it. You know what I mean? There's

00:50:17.110 --> 00:50:18.949
there's a powerful feeling that kind of comes

00:50:18.949 --> 00:50:21.369
through you, you know, like a lion in the mountains,

00:50:21.369 --> 00:50:23.699
you know? So I mean, I'm always in love with

00:50:23.699 --> 00:50:27.159
that first and foremost, for sure. But I'm always

00:50:27.159 --> 00:50:30.519
in love with the rhythm of words, that a lot

00:50:30.519 --> 00:50:33.880
of words just has natural, natural rhythms. And,

00:50:33.940 --> 00:50:36.019
you know, so sometimes certain things will just

00:50:36.019 --> 00:50:39.019
kind of come to me just because I appreciated

00:50:39.019 --> 00:50:41.420
the artistry of the words themselves, you know,

00:50:41.519 --> 00:50:43.179
and they kind of have their own little rhythm.

00:50:43.619 --> 00:50:45.579
And if I can figure out how to get that singing

00:50:45.579 --> 00:50:48.059
with my guitar at the same time, even cooler.

00:50:49.960 --> 00:50:52.679
So it takes practice, but you know, it's it's

00:50:52.679 --> 00:50:55.039
good practice. It's a lot of fun and worth it.

00:50:55.219 --> 00:50:59.340
Well, i've i've so enjoyed the music. I uh I

00:50:59.340 --> 00:51:02.139
can't wait to explore more of the catalog. Uh,

00:51:02.219 --> 00:51:05.280
once again folks whatever Wherever you download

00:51:05.280 --> 00:51:10.199
music You can find dana perry's Songs and albums

00:51:10.199 --> 00:51:12.619
and please also visit the website. This will

00:51:12.619 --> 00:51:15.739
be in the show notes and in the intro but dana

00:51:15.739 --> 00:51:20.269
perry music .com and If people are interested

00:51:20.269 --> 00:51:22.730
in, we were talking about CDs earlier, I'm one

00:51:22.730 --> 00:51:26.789
of those guys that I kind of miss CDs. I like

00:51:26.789 --> 00:51:29.130
the packaging, the jewel case, the liner notes.

00:51:30.510 --> 00:51:33.869
But if people want to purchase a physical copy

00:51:33.869 --> 00:51:36.309
of your music, is that still something they can

00:51:36.309 --> 00:51:39.309
do? Yeah, I definitely do have physical copies.

00:51:39.409 --> 00:51:42.010
There's a merch section on my Bandcamp page.

00:51:42.190 --> 00:51:46.590
It's musicbydana .bandcamp .com. There's like

00:51:46.590 --> 00:51:49.030
some paintings and some bracelets that I made.

00:51:49.269 --> 00:51:53.030
I do some. mugs and my partner does some glass

00:51:53.030 --> 00:51:55.429
etching. And then there's a section on there

00:51:55.429 --> 00:51:58.570
that's got all my CDs as well. But then of course,

00:51:58.710 --> 00:52:00.449
I always say there's multiple ways you can go

00:52:00.449 --> 00:52:02.230
ahead and listen. Of course, you can stream and

00:52:02.230 --> 00:52:04.090
stuff like that. I'll always send a physical

00:52:04.090 --> 00:52:06.929
CD to anybody that wants one for free too, because

00:52:06.929 --> 00:52:08.469
I think it's amazing that you want me to send

00:52:08.469 --> 00:52:12.050
you a physical CD. So I will lovingly do that.

00:52:12.230 --> 00:52:15.449
And I'll sign it too. So but if you're looking

00:52:15.449 --> 00:52:18.949
for it to have the music but not stream, I do

00:52:18.949 --> 00:52:21.730
digital. downloads on the Bandcamp site as well.

00:52:22.170 --> 00:52:24.750
And you can get the whole discography at once

00:52:24.750 --> 00:52:26.690
too. Sometimes I've had people just download

00:52:26.690 --> 00:52:28.650
the whole discography and it gives like a big

00:52:28.650 --> 00:52:30.789
discount and stuff like that. So I think you

00:52:30.789 --> 00:52:33.110
can get like the whole discography for like 35

00:52:33.110 --> 00:52:35.989
bucks or something like that. But yeah, so Bandcamp's

00:52:35.989 --> 00:52:38.989
phenomenal resource for musicians. I personally

00:52:38.989 --> 00:52:41.750
just, they've been great for over the years for

00:52:41.750 --> 00:52:44.980
me for sure. But that's where it would be. Great

00:52:44.980 --> 00:52:47.639
well people listening whether it's you or maybe

00:52:47.639 --> 00:52:50.719
you've got a teenage son or daughter Shoot, I

00:52:50.719 --> 00:52:54.000
love collecting records and CDs when I was younger

00:52:54.000 --> 00:52:57.400
kind of slowed it down, but Get into it. Even

00:52:57.400 --> 00:53:00.960
if you're Purchasing something to add to a collection

00:53:00.960 --> 00:53:04.059
or to start a collection collecting music is

00:53:04.059 --> 00:53:12.920
a really exciting and fun hobby Five ten years

00:53:12.920 --> 00:53:15.420
weirdly CDs will come back for like no reason

00:53:15.420 --> 00:53:21.960
I'd love to see it Well Dana anything else of

00:53:21.960 --> 00:53:24.920
that you'd like to plug I got maybe maybe like

00:53:24.920 --> 00:53:28.460
one or two silly questions, but Sure. All right.

00:53:28.460 --> 00:53:31.719
So are you a wake up in the morning and I got

00:53:31.719 --> 00:53:34.059
to get the coffee started before I do anything

00:53:34.059 --> 00:53:37.039
at all or can you roll out of bed and just Don't

00:53:37.039 --> 00:53:39.360
need the caffeine. Don't care. I'll eat a bagel

00:53:39.360 --> 00:53:41.460
when I do. Awesome question. That's an awesome

00:53:41.460 --> 00:53:43.659
question. That's an important question. And I

00:53:43.659 --> 00:53:47.679
need the coffee, man. I need the coffee. I have

00:53:47.679 --> 00:53:50.159
to. I mean, I'll do it without it, but I'm not

00:53:50.159 --> 00:53:55.460
seeing colors yet. I need the coffee. I'll be

00:53:55.460 --> 00:54:00.340
half asleep and make the coffee pot first. How

00:54:00.340 --> 00:54:03.940
about on some of the just wet weather days, have

00:54:03.940 --> 00:54:06.900
you ever had a situation where you just You're

00:54:06.900 --> 00:54:08.159
out. You're not going to be back at the house

00:54:08.159 --> 00:54:09.739
for a while. You don't have an extra pair of

00:54:09.739 --> 00:54:13.360
clothes. And my gosh, my shoes are all wet. My

00:54:13.360 --> 00:54:15.739
jacket, even my jacket's wet. What am I going

00:54:15.739 --> 00:54:18.989
to do here? Does that happen sometimes? It absolutely

00:54:18.989 --> 00:54:21.409
does. I've traveled and lived on the road a lot.

00:54:21.730 --> 00:54:24.170
And I have definitely gotten rained out and rained

00:54:24.170 --> 00:54:26.449
on and muddied and not been able to get out of

00:54:26.449 --> 00:54:29.329
it. That's for sure. You just get dry when you

00:54:29.329 --> 00:54:31.210
can. And in the meantime, just this is who I

00:54:31.210 --> 00:54:35.349
am now. I'm soggy. I am wet and muddy and cold

00:54:35.349 --> 00:54:38.650
and not happy and not happy. And then just but

00:54:38.650 --> 00:54:43.429
I will not stay in this state. I will eventually

00:54:43.429 --> 00:54:48.579
be dry and it will get me through. Perfect metaphor

00:54:48.579 --> 00:54:52.099
and This could be a long story, but your best

00:54:52.099 --> 00:54:55.599
friend in life. Is this somebody who is just

00:54:55.599 --> 00:54:59.460
like you? completely unlike you is it someone

00:54:59.460 --> 00:55:04.079
who I like friends and partners and people like

00:55:04.079 --> 00:55:07.139
how they how they mix because Some of my friends

00:55:07.139 --> 00:55:10.389
were a lot alike and some of them. I'm like Everyone

00:55:10.389 --> 00:55:14.130
else hates this person, but we're buddies. That's

00:55:14.130 --> 00:55:17.750
a good question too. I don't know. I don't know

00:55:17.750 --> 00:55:22.010
that I'd say I have a singular best friend. There's

00:55:22.010 --> 00:55:24.869
definitely a small handful of people that I consider

00:55:24.869 --> 00:55:28.630
that I'm fairly close to. Thankfully, they know

00:55:28.630 --> 00:55:32.030
and love each other for the most part. I definitely

00:55:32.030 --> 00:55:33.849
have a couple of friends that I would consider

00:55:33.849 --> 00:55:37.309
a dear friend. I know that they do not care for

00:55:37.309 --> 00:55:40.780
each other. And that happens. That'll happen.

00:55:41.119 --> 00:55:43.599
So I mean, we can't we can't all love everybody

00:55:43.599 --> 00:55:46.440
to that degree, I suppose. We can love each other

00:55:46.440 --> 00:55:48.639
as humans, but we're going to clash from time

00:55:48.639 --> 00:55:52.219
to time. So and I think that's OK. But I'd say

00:55:52.219 --> 00:55:54.099
the people that are the closest to me definitely

00:55:54.099 --> 00:55:57.780
have a lot in common for sure. And and the differences

00:55:57.780 --> 00:56:00.519
are the ones you kind of embrace and kind of

00:56:00.519 --> 00:56:03.559
use for each other and to kind of learn and grow.

00:56:04.119 --> 00:56:06.800
So always good to surround yourself with like

00:56:06.800 --> 00:56:09.519
minded folk. Sometimes I found with friendships

00:56:09.519 --> 00:56:11.900
the people that maybe are a little prickly to

00:56:11.900 --> 00:56:15.260
the general public and But I'm friends with them

00:56:15.260 --> 00:56:18.260
and I get them there's an appreciation there.

00:56:18.260 --> 00:56:21.880
Some people have little ticks and Personality

00:56:21.880 --> 00:56:24.920
quirks and they're like, you know Dan, I don't

00:56:24.920 --> 00:56:27.380
know how you tolerate me but But I appreciate

00:56:27.380 --> 00:56:31.400
it. Yeah, and you gotta love that. I kind of

00:56:31.400 --> 00:56:33.059
feel like I'm that person a lot of times for

00:56:33.059 --> 00:56:34.760
some of my friends. Like, dude, I know I'm really

00:56:34.760 --> 00:56:36.400
intense. I just want to thank you for hanging

00:56:36.400 --> 00:56:40.199
out. My partner and I say that to each other

00:56:40.199 --> 00:56:41.800
a lot. Just like, I know I'm really intense.

00:56:41.860 --> 00:56:43.800
I just want to thank you for hanging out. I think

00:56:43.800 --> 00:56:49.079
we all have our ways about us. Dana, this has

00:56:49.079 --> 00:56:52.380
been so much fun and thanks for carving out some

00:56:52.380 --> 00:56:55.019
time today. I hope we could do it again. Of course.

00:56:55.019 --> 00:56:57.409
Thanks for having me. and uh anything for checking

00:56:57.409 --> 00:57:00.369
out the music absolutely uh anything that you'd

00:57:00.369 --> 00:57:03.050
like to plug or promote or how people can find

00:57:03.050 --> 00:57:06.210
you oh no not like how they get to your house

00:57:06.210 --> 00:57:09.030
or anything but like how they uh i live it approximately

00:57:09.030 --> 00:57:13.070
this longitude and latitude um no i i think we

00:57:13.070 --> 00:57:14.989
cover pretty much all of it i mean everything's

00:57:14.989 --> 00:57:17.809
on the um On the website, it's danaparianmusic

00:57:17.809 --> 00:57:20.949
.com. I try my best to keep it updated. Not always

00:57:20.949 --> 00:57:23.190
the best at it, but either way, whether I'm on

00:57:23.190 --> 00:57:25.050
top of it or not, stuff that lives there lives

00:57:25.050 --> 00:57:27.510
there. So it's got all of my music and links

00:57:27.510 --> 00:57:30.010
to where you can get my music. And then I have

00:57:30.010 --> 00:57:31.889
like a blog section where I just kind of do some

00:57:31.889 --> 00:57:34.190
writings and there's some videos and fun stuff

00:57:34.190 --> 00:57:37.449
like that. So mostly everything's there. Whatever's

00:57:37.449 --> 00:57:39.949
not there that will direct you to where it is.

00:57:41.409 --> 00:57:44.769
Thank you so much, Dana, and best to you the

00:57:44.769 --> 00:57:47.739
rest of the year. And everybody listening or

00:57:47.739 --> 00:57:50.139
I always like to talk to the listener. Hope this

00:57:50.139 --> 00:57:53.119
was a great experience for you. Maybe you started

00:57:53.119 --> 00:57:55.340
at point A and I've carried you all the way on

00:57:55.340 --> 00:57:59.000
your hour drive and you hopefully feel better

00:57:59.000 --> 00:58:02.059
about your day. And check out Dana Perry's music.

00:58:02.079 --> 00:58:03.739
You're going to find something to love there.

00:58:04.699 --> 00:58:08.760
OK, folks, have a wonderful week. And as always,

00:58:08.880 --> 00:58:11.780
see you next Sunday on the Dan Time podcast.

00:58:11.980 --> 00:58:20.739
Thank you, Dana Perry. Thank you. Gonna open

00:58:20.739 --> 00:58:24.460
up my cells, I've got a vision of a new day