Ally Morton

Season One: Episode Seven

Painter, musician, and frequent Global Garage contributor Ally Morton talks with Ryan about his opening track selection, “Mellon Collie and the Infinite Sadness” by The Smashing Pumpkins, the evolution of songs, misheard lyrics, listening to music seasonally, Scatman, and more!

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Season One Playlist

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Ally: I find it fascinating how people respond to it. You might have one crowd that suddenly loves this song and they dance to it or something. And no one’s ever danced to that song before.

And then you have another one where you try it again in a different place and the response is weaker. Like songs just seem to have their own life, as you say. But yeah, as you say, with recording, you know, sometimes there are deadlines. We need to record this by this date. So maybe that song isn’t to the state that you wanted it to reach, like you say.

So live allows that evolution. And I think taking the Smashing Pumpkins as a reference, I think that’s something Billy [Corgan]’s always said, you know? I mean, on Mellon Collie, there are songs with like 72 guitar overdubs, I mean that’s not going to happen live now, is it?

Ryan: This episode features painter, teacher, musician, and my friend Ally Morton. Ally Morton’s main musical project is Massa Confusa, though it’s worth listing off some of his other projects: Youkol, Gozer and the Gatekeeper, Not Myself, Five Pence Game along with Clarty Cat records, the DIY record label he uses to house some of them.

I first met Ally Morton through Global Garage. My co-host Paul first added a Massa Confusa track to one of our weekly playlists. Ally reached out afterwards and we’ve been chatting ever since.

One of many things he and I have in common is that we’re both from Durham. Except I’m from the one in North Carolina and he’s from the one in the UK. He currently resides in San Sebastian which is in Basque country, in Spain. My knowledge of Basque country, home to one of the world’s oldest ethnic groups that spans from northern Spain to southern France, was essentially non-existent before I met Ally. During the pandemic, I asked if he would curate an episode of the show and he obliged.

The playlist he put together combined a mix of Basque music and music from northeast England. It was from here my love of Basque music grew. There are some fantastic and amazing bands coming out of that region, such as Lukiek and Belako, a lot of which are in the very beautiful Basque language.

Ally has since guested on Global Garage multiple times and messaged me various recommendations for new music, so it seemed more than fitting to ask him for his favorite opening track. Let’s make a mixtape.

[Intro music by Scotty Sandwich]

Ryan: Thank you, Ally Morton, for joining me on Let’s Make a Mixtape and thank you for contributing to this season’s playlist of opening tracks. You chose The Smashing Pumpkins’ “Mellon Collie and the Infinite Sadness,” the title track of the epic double-album by The Smashing Pumpkins. Why did you pick “Mellon Collie and the Infinite Sadness” for this playlist?

Ally: Well, I had a lot of different choices to choose from, and the first time you asked me and you said “opening track,” immediately what came to my head was an introduction track, people that have intro songs. And I had things like AFI and how on their albums they had a minute and a half song that would introduce the album and it would build up to something.

Or people like Mars Volta, their first song on Deloused [In the Comatorium]. And then eventually, I don’t know, I just thought for me, what I like about “Mellon Collie…” is contextually, it’s like a kind of F-U to to what happened before. It’s kind of We’ve had Gish, we’ve had Siamese Dream, this is what we do now. And it’s quite a bold move to put a piano song as a first song to an album that, for a band that were recognized as a guitar band entirely.

And I think it sets the premise for the experimentation, the extra instrumentation, and kind of the scale of the project that Mellon Collie… became. It’s kind of that, the kind of brave, bold move of, okay, you might hear this song first and this is it, like-it-or-lump-it kind of thing.

Ryan: Yeah. So, so you see it as almost an opening statement for. A change to, or evolution of, their sound like a thesis, a thesis statement, if you will.

Ally: Exactly. A lot of my favorite bands are bands that have kind of had an evolution in their sound as well. So, you know, they’re trying different things. And especially if you think of The Smashing Pumpkins between, you know, ’91 Gish and 2000’s Machina, each album is completely different and it’s kind of-

Some fans are divided, they leave, they gather new fans, and they’re just happy to continue to do their thing. And there’s not, I mean, there’s not that many bands for me that have achieved the same thing. I mean, there are bands like, I dunno, things like Siouxsie and the Banshees, you know, like things, if we go back into kind of post postpone times of, of, of England and things like that, people like Radiohead, Björk as a statement and as as fitting the brief of opening track. I think for me that, that’s a statement to be made.

Ryan: When we were talking offline and you were, you were deciding on your choice and, and you talked about this a few minutes ago, but wanting to have it focused, whatever the pick was, be an intro song that sets up the record, which I think is definitely an interesting-

I think there are definitely two sides of the thought with opening a record. You either want to set the tone for an album or you want to just hit it off strong. So I was doing something, because you had mentioned that you were thinking about doing the opening track on Deloused in the Comatorium by the Mars Volta.

And it’s really interesting. Listen to intro. It’s, it’s beautiful. But is Deloused in the Comatorium– if you take out that intro song, does it start as strong? I mean, it has that punch, but that intro song, I mean, it’s almost, can you separate the intro song from the first song and can it stand on its own?

Ally: I’m still a type of person that likes to listen to albums, but if that song happens to go up in shuffle or something, because I’m listening on Spotify, it really confuses me when it like “Son et Lumiere” plays. And then it skips into something else. Or the other way around. You just get that second song, but you haven’t had that build up.

And it’s like… Yeah, I think the idea of an opening track setting the premise is quite a bold move. It’s the same with a live show, right? You curate the set list. You want to start strong and then you might play a hit or, you know, kind of afterwards, then there’ll be a quiet moment maybe, and then you’ll build it back up again.

And then whether you’re one of those bands that like to do encores or not, you play with that. I’m a fan of the opening track.

Ryan: Especially in the context of listening to albums. And I think one of the, the benefits of “Mellon Collie…” is you could throw that on a playlist and it would almost feel like an interlude.

It builds up into “Tonight, Tonight” well, but it doesn’t necessarily. “Tonight, Tonight” can exist on its own and “Mellon Collie…” can exist on its own too. Which is interesting there.

Ally: I was quite surprised to hear quite recently on BBC Radio 6 Music, there was a live session from, I think it was Daniel Avery. Do you know the producer Daniel Avery, the DJ?

Ryan: I’m not familiar.

Ally: He’s kind of more, I don’t know, He’s quite known for my kind of instrumental kind of electronic stuff. Sometimes it’s quite- I struggle describing electronic music specifically, despite being a fan atmospheric, maybe, I don’t know, but anyway, he was talking about how he was a big Deftones fan.

I mean, I am as well, but on this mix, I think his first song on this mix, I’ll double check for it and I’ll send you it later if I find it, was playing “Mellon Collie…” in part of this electronic set. And it was just quite strange to think, you know, I think it was this year, so 2023, I mean, “Mellon Collie…” was, what, ’95 or something like that?

To see that’s a strong point for him and it’s not a reference that you’d think of. Yet, if I’m right, and it was the first track on his playlist, he’s using it as an opening track, like you say, like an instrumental interlude, and he’s using it as his beginning as well, which I thought was quite, quite cool.

Ryan: When you’re constructing your setlist for your various projects, what is kind of your thought when you open a live show?

Ally: Yeah, I normally start strong, in terms of something that’s going to make an impact. I’m not someone who plays live that often. Mainly just due to life constraints and as a result, I’m less active and as a result, fewer people know me. So people might just go to kind of see what’s happening. And then I think if you have like a strong start, people go, “Oh, wow, I didn’t expect that.”

And especially if we talk about my main project, Massa Confusa, it’s just me with a laptop and a guitar and some effects pedals and people often don’t expect much from one person. But it’s a project I’ve worked on for quite a long time, you know, I know how to make the samples and come across strong in terms of sound.

Sometimes people loop things or use samples and they use a looper, but even the strength and the signal that’s coming out of that pedal isn’t strong enough to make an impact. So yeah, I’ve kind of found my way with that. So at the moment, and for a while, I’ve been beginning with one of my tracks, which is called “Dark World,” which is quite old now. It’s from 2016, I think. And it’s one that a lot of people, that do know me, recognize as well. So it’s a good, good thing to begin with, in my opinion.

Ryan: So you’re just going right out the gate. You’re not building up necessarily.

Ally: Yeah. I mean, I’m wanting to play some newer songs. I’ve started working on some new stuff. So I’ll probably, in this new set, start with something that people know, so “Dark World,” the strong one, then maybe play around with some of my newer ones, and then go back to some slightly more familiar ones.

But yeah, I suppose in some ways I’m a bit selfish as well, because I’ve got 10 years of material, or 11 years now I think it is, and like I said, because I’m not that known, it doesn’t really matter what I play in some respects, apart from a few, you know, a few friends or a few fans that are gonna know my stuff.

So I sometimes think, “okay, what haven’t I played in a while?” Or, “what went down well last time? Let’s try that again.” Or, if that went down well last time, “let’s try this one. Maybe this one will go down well, as well,” and sometimes earlier recordings, I play them and they’re like, “wow, I like your new song.” I’m like, “well, that was from the very first EP,” but because it’s been revamped and it has a different sound live, it’s stronger in sound, basically.

Ryan: Do you ever consider revisiting some of your previous material and reincorporating that into a new recording? Or are you considering that as this is the live evolution of the song and that’s where it’s life is.

Ally: It’s never say never, but for me, I’ve recorded that in a moment in time and that’s kind of what it is, you know, but yeah, maybe at some point I’ll either, as you say, maybe re-record the song and I can put it on a new release. And it’s a different version, or I could do like my own kind of greatest hits kind of things where I choose ones that I like, re-record them and it’s an EP of stuff or an album of stuff that I have already released, but I’ve recorded again. And you know, other bands have done that as well.

I mean, I’m quite a big fan of Sick Of It All, the hardcore band. And they, they did the same, they did like a best of album, but everything was re-recorded and it’s quite interesting because you hear those kind of early stuff from like ’86 or whatever, those are kind of early 7″s, but they’ve become live favorites. All have kind o f been forgotten about one or the other, and then they become much stronger.

Ryan: In the grand scheme of things, we haven’t been super active for that long of a time, but we’ve been around long enough that we’ve put out a recording and some of the songs have taken on slightly different lives than when they were recorded and it’s interesting to see that evolution from even when we were road testing stuff before, you road test stuff to see what lands what might need to be adjusted during a song, a song changes from when it’s written to a life of its own that just continues to grow, which is fascinating that you can’t really expect a song to just be done by the time it’s recorded.

Ally: I find it fascinating how people respond to it. You might have one crowd that suddenly loves this song and they dance to it or something. And no one’s ever danced to that song before.

And then you have another one where you try it again in a different place and the response is weaker. Like songs just seem to have their own life, as you say. But yeah, as you say, with recording, you know, sometimes there are deadlines. We need to record this by this date. So maybe that song isn’t to the state that you wanted it to reach, like you say.

So live allows that evolution. And I think taking the Smashing Pumpkins as a reference, I think that’s something Billy [Corgan]’s always said, you know? I mean, on Mellon Collie, there are songs with like 72 guitar overdubs, I mean that’s not going to happen live now, is it?

Ryan: No, no!

Ally: But I think he’s quite happy to say that the live experience is different from the recorded experience, and therefore that song can take a different direction.

Ryan: Have you seen The [Smashing] Pumpkins live before?

Ally: Yes, but only from like 2000 on, you know, and they did the reformation, so that’d be 2007, I think it was. Yeah, so I got into The Smashing Pumpkins, unfortunately, as that main bulk of their career that I admired so much was ending. So I got into them in 2000, when I was 12.

So, you know, that was a time where, I mean, I think I might have still had dial-up internet and they put all their albums online to stream, but it took ages for me to even be able to hear one song. And I remember kind of buying their CDs from, I think it was, it might have been called Virgin Records then.

And they had them on offer, so it was like $5.99, all of their albums. So, when I got my pocket money or whatever, it was like, “okay, let’s buy a new Smashing Pumpkins album and listen back through all those things.” So, yeah, when I found out they reformed, obviously I was happy, but also I was unhappy that it wasn’t the original lineup.

Ryan: That was what, Zeitgeist? Was like the reformation?

Ally: Yeah. Which, interestingly, is still an album that’s not on Spotify.

Ryan: Weird.

Ally: Yeah. There’s a few other things as well, like Billy Cogan’s solo album, The Future Embrace is also not on there. I know sometimes these are record label things, but it’s just bizarre that there are so many other things that are on there from their career.

And it’s like, okay, we don’t like Zeitgeist for whatever reason, or the label doesn’t like it, or whatever. And it’s just not there. It’s very strange. But yeah, I did, obviously, I did enjoy them when I saw them and I was very excited. Because it was the first time they played in a long time live, you know, the setlist was quite varied as well.

I mean, I’ve probably got it written- I’ve probably got it typed up somewhere. I’ve probably like, “oh, this is the setlist that they played.” But I remember it being obviously a mix of Zeitgeist and a mix of other things, as well, which was very good.

And then I saw them again, kind of the year later, because that was Leeds Festival. So you’re going to expect, you’re going to expect like a bit of a greatest hits as well anyway. And then I saw them maybe the year after playing in Manchester. I can’t remember what the venue was. But that was cool because they opened with, I always forget its name. I think it’s “Porcelina.” The one that has a really long interlude at the beginning.

I’m great at knowing music, but not at knowing names of things. And I’m sometimes the same with- I’m sure it’s “Porcelaina.” And I’m sometimes the same with lyrics as well. I seem to focus more on the music than the lyrics. And I can hear these songs millions of times. And… I just, it’s like I’m making up the lyrics in my head, and then I actually read it one time, or it pops up on my phone because Spotify now has that kind of lyric thing, and then I’m like, “ah, that’s what he’s actually saying.”

Ryan: The Smashing Pumpkins, I think, definitely has my favorite misheard lyric that I always mishear on “Cherub Rock.” I’ve always heard it as, “who wants this heinie?”

Ally: Heinie? Wow.

Ryan: Heinie. Yeah. As if, you know, Corgan’s like walking like, “yo, look at this butt.” Yeah, yeah. I think it’s “who wants this honey.” But the way- the affect that he puts on his voice, I’ve always misheard it and I still mishear it to this day because I refuse to acknowledge that it’s anything else.

Ally: There’s this brilliant feature on BBC Radio 6 again, that is one DJ does, he’s called Chris Hawkins, and he does it once a week, and it’s called “Names in Songs.

And the idea is a bit like you mishearing a lyric. It can’t physically be that the artist is singing someone’s name, but you have to hear the name of someone in your song. And it’s quite funny to hear little snippets of different songs. And people like say, “oh, my grandmother, Dora, gets her name shouted out in 1:11 in this song.”

You know, or “my brother, Stephen Peters, gets his name-” and then he plays that clip. And everyone has to decide how close is it. Obviously people hear things slightly different.

Ryan: That’s fun.

Ally: It’s a good feature, yeah, yeah. Unfortunately I haven’t found one yet that hasn’t been, that’s related to me.

It can’t be a celebrity’s name either. No celebrities. It has to be someone, obviously you could invent it, couldn’t you? I know Stephen Smith or whatever. But it wouldn’t be as fun that way. And when it is a grandma’s name, we call it “Nan’s in Songs.” Which is brilliant.

Ryan: Oh, that’s, that’s incredible. I love it.

[Segue Music]

Ryan: Getting back to the Smashing Pumpkins, would you, and “Mellon Collie,” would you say Mellon Collie… is your, your favorite record of The Smashing Pumpkins catalog?

Ally: Yeah. I mean, it’s hard to pick one. Like I said, what I like about them is how all their albums are different, so it depends on my mood sometimes. And I really like Adore, which a lot of people aren’t a huge, huge fan of, you know?

But, for me, like, that is such a great album as well. And, and even, you know, the intro track on that, “To Sheila,” kind of slow, acoustic-y thing, again, kind of sets the premise of, “this is going to be a quiet album, it’s not going to be anything heavy.”

Ryan: I actually remember, I haven’t listened to it in a really long time, but when I was probably in high school, there’s this used CD store that I would go to and just browse through and sometimes there were some really cool finds.

Sometimes it was just the same copy of every ’90s record that everyone has been purging from their collection. But my knowledge of the Smashing Pumpkins at the time was pretty limited to what I heard on the radio and I think I had, at the time, Mellon Collie… on CD and I was just browsing the used CDs and I saw Adore and I was like, I haven’t heard this one before and I didn’t hear, I don’t think any of those were, you know, on the regular radio rotation and I listened to it and I remember just enjoying it at the time and being kind of surprised because it did sound so different than what I was familiar with.

And I remember kind of being surprised and pleased with that.

Ally: It’s interesting because I sometimes think about associating what I listen to with seasons or times of year. And I don’t know if it’s ’cause that’s when I first listened to that thing. But I often like to listen to Pisces Iscariot and Siamese Dream in the summer.

There’s something about that fuzzy sound. And that kind of- some of the songs are happy or maybe they sound happy, but lyrically they’re not, but it’s kind of slightly uplifting. So they kind of have that summery vibe.

Ryan: I definitely have seasonal moods too. Like when it starts to get cool out, I really crave kind of Americana, alt-country, all kinds of stuff.

Like I love Hiss Gold Messenger. And typically, on average, he releases new albums in like August, September, October. So maybe it’s part of that conditioning. But there’s something about that music that I really associate with the cool weather and, you know, the smell of falling leaves with that music.

What are your seasonal rotations?

Ally: For some reason, in autumn, I always listen to Refused, The Shape of Punk to Come. I don’t know why. I have no idea why. Maybe it’s like the heaviness of a change in, you know, the weather’s starting to get a little bit worse. Maybe something like that. And then, towards Christmas, I always have this memory of Fat Wreck Chords, when Fat Wreck Chords released podcasts.

And I always listen to this particular mixtape that Fat Mike made for Floyd. I don’t know if Floyd still works for Fat Wreck. And I’ve kind of got it as a podcast, and I always listen to it. And it’s got, at the time, it had a couple of unreleased songs. They’re probably all being released now, you know.

It’s got things like Lagwagon, it’s got things like Strike Anywhere. Mad Caddies. It’s kind of, yeah, so I think I seem to be attracted to that kind of stuff, but that could be associated to summer as well, you know, especially if you’re talking about Mad Caddies or something like that. That was the time of when I heard it, you know, it specifically was made as like a Christmas present for Floyd.

So it’s like, okay, so it’s Christmas and then it kind of makes me think of that. But yeah, I mean, it depends on mood, depends on the weather, depends on how I’m feeling. As well, but yeah, for some reason always Refused in the autumn and always Pisces Iscariot and Siamese Dream in the summer.

Ryan: When it gets cold, I find myself listening more to atmospheric black metal because it has that kind of wintry vibe, you know, especially if we’re talking like Panopticon or something like that.

I definitely feel, I think, more punk and garage in the summer. Spring, I feel like is, uh, I don’t know. I think. Heavy psych, psychedelic music, seems to be more, I think, where I go then. I remember taking my dog for a walk around the neighborhood, walking around a pond, listening to Kikugaku Moyo’s House in the Tall Grass, and it was just like, it was a perfectly crisp blue sky day, and it was just, I remember the music fit just perfectly.

I love how music can do that, it has that ability to… either match or harness a moment or or a memory. Going back to the theme of mixtapes, I think that gets to the to the root of it. I mean mixtapes have these ways of harnessing themes and memories or putting a soundtrack to our lives.

Ally: Especially when I’m sure you have made physical mixtapes for people in the past as well.

Ryan: Yeah, yeah, exactly. Yeah.

Ally: So we’re, we’re from that culture of, you know, deliberately choosing songs for people and trying to think either it’s something you want to express to them, like, “Oh, you need to hear this” or it’s “I think you might like this,” or “this is not normally your style of music, but let’s have a go. Let’s see.”

Ryan: Burning CDs was the medium, right? I think I had as many burned CDs as I did owned CDs at one point in time.

Ally: Yeah, and I used to make the covers for them as well. That used to be an important part, so I’d make an album cover for the mixtape. And I’d probably use something like [MS] Paint, deliberately. It became this thing and sometimes I’ve been reposting some of them online because some of them are quite funny and they’ll often be like puns on people’s names.

Ryan: You should totally create Spotify playlists and use that album art for the mixtapes.

And if you have one that you create and you want it to be associated with the show notes, let me know.

Ally: And I’ve made some of the McLovin super mix ones, which is obviously when, when Superbad was, was big. I can’t remember who that was for. It’ll come to me later, but yeah, I obviously had a picture of McLovin on the front and then a picture of his fake ID on the back.

Ryan: Were you the most prominent distributor of mixtapes or did you was it a fairly equal relationship with your fellow mixtapers.

Ally: I think I gave more mixtapes than I received. Or mixed CDs, whichever, if you wanna be specific, but yeah. And sometimes for past girlfriends as well, but friends, housemates that I lived with, I probably made every- in Uni, I shared a house with three guys and each one of them definitely got a mixtape.

Ryan: You know, without Spotify, that was a great way to discover new music and especially new genres too. If your collection is very stuck in a few specific genres and someone who has a different musical background puts together, you know, “these are the top 10 songs of this genre that I love,” it’s a really good introduction. And a personal introduction, too, to get someone’s unique taste and perspective on something.

How much did you labor over what the introduction track would be on those CDs?

Ally: I didn’t. Well, no, no, I probably did. Yeah. Sometimes I theme them, so I might put like, if I was doing like a mixed CD or tape that was going to be varied with genre, I might put two electronic ones at the beginning, then two punk ones together, then two ska ones together, and sometimes I would organize it like that.

And I suppose in general when I do those type of things, I tend to put the electronic stuff towards the end, or the slower stuff towards the end, and I tend to stuff towards the beginning, the rockier stuff or whatever and then kind of maybe scary stuff in the middle before it drops into something sad and indie or something, towards the end.

Ryan: Yeah, you want to be able to kind of control the flow of the mood. Hook em! And then give them something weird and then let them leave with a little bit of pensiveness.

Ally: I sometimes put something silly on the end deliberately from like a- I don’t know, a film or like, I think, remember Scatman? Scatman should, I can’t remember his name, but there was a song called Scatman and it was a really daft song and I remember putting that on the end of someone’s mixtape once. You’ll have to check out Scatman.

Scatman John is his name and the song’s called “Scatman (ski-ba-bop-ba-dop-bop)”

Ryan: I love it. That’s fantastic.

Ally, is there anything that you want to mention, talk about? Anything regarding “Mellon Collie…” or any of your personal endeavors before we sign off?

Ally: We hit my personal endeavors. There are too many to talk about. I mean, yeah, I have lots of projects in various states. Massa Confusa still remains being the most prominent or the most consistent because it’s just me.

But I’ve started working a lot more. I think you played one of my songs on Global Garage once by Youkol. It was one of my instrumental things. So when I started doing Youkol, it was just to have a break from the guitar and it was just kind of therapeutic. It was like, just, oh, “let’s play with some synthesizers.”

And now I’ve recorded an EP and I’m working on doing that live as well, which is something I never thought I would do because Massa Confusa is less- there has to be a lot of pre-programming for Massa Confusa because as soon as I’m playing the guitar and singing, there’s not a lot I can do. I’ve only got two hands. I know I have my feet, yeah, but there’s quite-

Ryan: That’d make for a good live show.

Ally: So, so yeah, I’ve had to pre-program quite a bit, whereas, Youkol, because it’s all instrumental and, you know, that doesn’t have to rely on a chorus or a verse. It can be more fluid. The song that could be on the EP could be different from how it’s going to be live. And it does involve actually looping.

So I’m keeping the setup quite simple, but at the moment I’m just using, um, I’m using Arturia Synths, so digital synths, Pigments and Analog Lab. I’ve got the new Arturia Mark III synth, which is like a controller for it. And then I’m using two launch pads that work with Ableton Live.

And I’ve got one that I’m using for like a drum rack. So pre-programming drums, sorry, playing live drums on some of them and then sequencing with the other, other launch pad.

And then I’ve got the mixer that can kind of decide which stem on Ableton Live you want to use. Like, you record on, you know, “do I want to use channel one, do I want to use channel two?” So yeah they’re the most prominent things, but there’s stuff, kind of secret in terms of, it’s going to be a while before they surface.

Since the pandemic, the guitarist in Not Myself, and also in my duo, Gozer and the Gatekeeper has had a baby. So, life has to do its thing. But yeah, with Gozer specifically, we recorded an album. And it’s getting mixed by a guy called Dan Knowler who, at the moment, has a band called Shining Tongues.

And they’re based in London. You should check them out, I think you’ll like them. He’s been involved in various things before. He had something called The Infinite Three. Which we may have spoken about on previous Global Garage stuff. And before that he had a band called Leisure Hive. Which, interestingly had a drum machine in the first incarnation and which I didn’t know about but I ended up meeting him and we played together as Infinite Three and he mentioned his Leisure Hive stuff and as he saw me with a drum machine, said “ah yeah.”

Yeah, and I still do Five Pence Game collaborations, too. So I’ve got another one in the works. So it’s kind of all these things just kind of slowly going forward, but not many people know about them, you know, but it will come to come to the surface at some point.

Ryan: I will continue keeping ears, ears and eyes open.

Thank you so much for, uh, for joining me on this first season. Always a pleasure to talk to you. Great pick “Mellon Collie and the Infinite Sadness.”

Due my conservative approach on this show to avoid copyright violations, I can’t play Ally’s song selection but, if you haven’t already, be sure to subscribe to the Season One playlist on Spotify or YouTube so you can hear “Mellon Collie” as well as the previous six guests song selections. That said, Ally gave me one of his songs from Massa Confusa to share with you today. Here is “Good to Talk.”

[Theme music by Scotty Sandwich]

Ryan: Thanks to Ally Morton for joining me on today’s episode. Thank you for listening. Be sure to subscribe and rate the podcast if you like what you hear. Show notes & transcript can be found at letsmixtape.com. Follow the pod on social @letsmixtape. The show’s theme music was composed by Scotty Sandwich. Next week my guest is comedian, Eric Navarro from the Hard Times and Punk Rock Seinfeld.