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Solutions. 29 00:02:23,400 --> 00:02:28,680 Their phone number is eight sixty six eighty four to one forty six hundred, 30 00:02:29,000 --> 00:03:21,159 or on the web at CGI Business Solutions dot com wmnh ripthonovels, Evolution, 31 00:03:22,439 --> 00:03:35,599 Revolution, Creation it Sound, Follow the science Times you lie Sison flat are 32 00:03:36,000 --> 00:03:53,840 insid round the money you try bling complies from Follow the tree systems with timeste 33 00:03:54,759 --> 00:04:17,680 It's fund hold it don't wasted, so heed it and tasted. We are 34 00:04:18,920 --> 00:04:30,240 beyond in the bumer got lost in the throat. We are more than one 35 00:04:30,480 --> 00:04:46,680 sun in a lock to belong. We are, we are, we are 36 00:04:54,439 --> 00:05:06,600 long Reveloa Control Institution. Isn't it ironic? How would fly wait a moment? 37 00:05:06,759 --> 00:05:23,360 Mount make every take camp beside marchants, beside flows, Oh it don't 38 00:05:23,560 --> 00:05:42,680 waste beside clowes e saystea were beyond in the moment, never last in the 39 00:05:42,920 --> 00:05:58,680 throng. We are one son in a black time belong we are, we 40 00:05:59,160 --> 00:06:43,000 are well, we are, we are, we we are, we are. 41 00:07:01,079 --> 00:07:05,199 That's a cool sound, cronas And we're going to talk to the man 42 00:07:05,319 --> 00:07:09,160 behind the song in just a moment. Welcome everybody. It is our number 43 00:07:09,160 --> 00:07:15,240 two New Maarrow dose of Matt Connorton Unleashed live from the studios of w m 44 00:07:15,439 --> 00:07:19,720 n H ninety five point three FM in Glorious Manchester, New Hampshire. And 45 00:07:19,920 --> 00:07:23,839 of course I'll just remind you if you're wondering, we are not on Facebook 46 00:07:23,879 --> 00:07:27,240 this morning. Facebook is being Facebook being a little glitchy. But of course 47 00:07:27,279 --> 00:07:30,839 you can still stream the show from anywhere. Go to wm Andhradio dot organ 48 00:07:30,920 --> 00:07:33,240 click listen live, or you can go to my website Matt Connorton dot com 49 00:07:33,360 --> 00:07:38,480 for all of your live streaming options, social media links, contact infoshow archives, 50 00:07:38,839 --> 00:07:42,879 et cetera, et cetera. It is Saturday, February ten, twenty 51 00:07:43,079 --> 00:07:46,759 twenty four, and making his return to the program. It's been a little 52 00:07:46,759 --> 00:07:49,199 while, but we've had this gentleman on a number of times, Ray Coates, 53 00:07:49,360 --> 00:07:53,319 skyping in all the way from across the pond. As we say, 54 00:07:53,720 --> 00:07:57,800 Ray, are you there, I am hey, Absolutely, I'm welerful to 55 00:07:57,920 --> 00:08:00,600 be with you. Yes, it's wonderful to be with you, and it's 56 00:08:00,600 --> 00:08:05,279 great to speak with you again. And love that track for I. In 57 00:08:05,360 --> 00:08:07,199 my mind I was saying kronos, but in the song it sounds like you 58 00:08:07,279 --> 00:08:11,800 pronounce it cronos. I think it's an English thing. Matt, don't worry 59 00:08:11,800 --> 00:08:16,120 about it, all right, Very good, very good. You say pat 60 00:08:16,399 --> 00:08:20,879 potato, I say Patato, although I've never heard anybody say patate only in 61 00:08:20,959 --> 00:08:24,720 the song yeah or tomato. I've only heard that in the in that that 62 00:08:24,920 --> 00:08:30,040 song too exactly. But yes, yes. Uh. By the way, 63 00:08:30,120 --> 00:08:31,919 Rays with us via Skype, which means the studio line is open. So 64 00:08:31,960 --> 00:08:35,679 if you have any questions or anything at all or feedback for our guests, 65 00:08:35,080 --> 00:08:39,559 uh, six O three two five O six oh seven is the studio line 66 00:08:39,879 --> 00:08:43,320 six O three two five O six oh seven. You can also text me 67 00:08:43,399 --> 00:08:46,720 at six one seven nine one seven four four seven six. I'm on social 68 00:08:46,799 --> 00:08:50,440 media at Matt Connorton. You can email me Matt at Matt Coonorton dot com. 69 00:08:50,840 --> 00:08:52,200 But the best thing to do so that we can here and enjoy your 70 00:08:52,279 --> 00:08:56,639 dulcet tones on this Saturday morning. If you have anything for our guests, 71 00:08:56,720 --> 00:09:01,960 Raycoats, give us a call at six O three two five six seven. 72 00:09:03,879 --> 00:09:05,840 Excuse me my allergy. I'll tell you, I don't know what the weather's 73 00:09:05,879 --> 00:09:11,399 like their ray, but here's very warm, and my my, it's it's 74 00:09:11,639 --> 00:09:15,600 I'm gonna have to jump in there, Matt, because it's actually really good. 75 00:09:16,679 --> 00:09:20,399 So so it's unusual to be able to have the opportunity to say the 76 00:09:20,480 --> 00:09:24,559 weather is good here. Yeah, so, no, it's it's it's it's 77 00:09:24,639 --> 00:09:28,480 really good here too. It's it's very warm and uh my, uh my 78 00:09:28,639 --> 00:09:33,279 sinuses have indicated that we're having an early spring. Oh go, yeah, 79 00:09:33,840 --> 00:09:37,960 yeah, funny enough. I'm not a million miles away from Manchester, UK. 80 00:09:37,799 --> 00:09:41,679 Ah, yes, yeah, yeah, I'm in a place called Warrington. 81 00:09:41,759 --> 00:09:46,759 I'm actually in the recording studio today and I thought I must share that 82 00:09:46,960 --> 00:09:52,320 with you. That Yeah, I'm just possibly not even ten miles away there 83 00:09:52,440 --> 00:09:56,440 or thereabouts from Manchester. So we share, we share even more in common. 84 00:09:56,679 --> 00:10:01,120 That's right, that's right. Manchester is such a common name because here 85 00:10:01,200 --> 00:10:05,240 in the United States, there's actually a whole bunch of Manchesters. I like 86 00:10:05,320 --> 00:10:07,279 to think of, Oh yeah, yeah, there's a Manchester, Connecticut. 87 00:10:07,320 --> 00:10:11,799 There's a I don't know, there's a bunch of them. There's a whole 88 00:10:11,840 --> 00:10:13,440 bunch of them, very very common here. But I like to think we're 89 00:10:13,480 --> 00:10:20,639 the best cool and uh, ray, you've got a bunch of new music. 90 00:10:20,879 --> 00:10:24,399 You sent me several tracks. Well, uh we should be able to 91 00:10:24,399 --> 00:10:26,960 get them all in and great stuff, but we can kind of you know, 92 00:10:28,039 --> 00:10:31,320 as we talk about each one, you can tell us you know what's 93 00:10:31,399 --> 00:10:35,960 behind each track and who who officially is the artist on each track. Because 94 00:10:35,960 --> 00:10:39,600 you like to collaborate, and you collaborate with a lot of people, so 95 00:10:39,639 --> 00:10:43,840 you've always got various different projects going. I can't keep it all straight, 96 00:10:46,120 --> 00:10:50,080 but so it's fortuitous that you're here. Yeah, yeah, what what can 97 00:10:50,120 --> 00:10:54,840 you tell us about that song? Cronos or cronos. I think it's a 98 00:10:56,039 --> 00:11:01,720 I think there's an overview. What I've experienced is expand and that's why I 99 00:11:01,960 --> 00:11:07,080 create so much with so many different people, and I think that's an experience 100 00:11:07,159 --> 00:11:11,159 I share for others, not just for myself, but over so on. 101 00:11:11,200 --> 00:11:20,600 The architects of passion is me in a lot of projects I do. Generally, 102 00:11:20,279 --> 00:11:24,639 I tend to be the vocalist. In many occasions i'm the lyricist, 103 00:11:26,120 --> 00:11:33,480 although that's not always the case. But it's basically it's about time and for 104 00:11:33,639 --> 00:11:43,080 me, so many references to a cronus or chronos in everyday language, chronology, 105 00:11:43,919 --> 00:11:50,320 chronometer, so many references, and I think the message is make the 106 00:11:50,360 --> 00:11:54,879 most of the bit in between, you know, make the most of them 107 00:11:54,960 --> 00:12:00,519 now, So it's a very very positive message. So regardless of wherever we 108 00:12:00,679 --> 00:12:05,200 are, wherever we are supposed difference is not a great fan of that that 109 00:12:07,600 --> 00:12:09,759 it's now, you know, the bit in between. I was born in 110 00:12:09,879 --> 00:12:16,320 nineteen sixty five, I'm still here. I am here, and I'm aiming 111 00:12:16,399 --> 00:12:20,039 to be here for as long as I possibly can. So it's the bit 112 00:12:20,159 --> 00:12:22,159 in between. But often, you know, people think about the year of 113 00:12:22,240 --> 00:12:28,279 birth and an end, and I think the message in the song is we 114 00:12:28,639 --> 00:12:33,200 are here, quite simple, so make the most of it, make every 115 00:12:33,279 --> 00:12:39,320 moment count, And that's a very positive message to share. No, I 116 00:12:39,399 --> 00:12:43,919 think that's a very very positive message. It's something I try to do and 117 00:12:45,000 --> 00:12:48,320 fail at consistently. Maybe I should listen to that song more. I am 118 00:12:48,480 --> 00:12:52,159 tom. I mean, my problem, Ray is I live in a perpetual 119 00:12:52,279 --> 00:13:00,399 state of existential dread. And it's probably not a good thing, probably not 120 00:13:00,559 --> 00:13:03,440 great. The only the only thing I would say is there's there's grounds for 121 00:13:03,600 --> 00:13:07,960 it, so it's not it's not unreal, is it? And I think 122 00:13:09,080 --> 00:13:13,679 I certainly wouldn't say I I live in the opposite of that. I think 123 00:13:13,720 --> 00:13:20,000 it's just through the means I use I just feel a very strong passion. 124 00:13:20,080 --> 00:13:28,240 That's where the passion comes from. And connecting in enabling others. It is 125 00:13:28,320 --> 00:13:33,320 not trying to change minds or hearts per se, just using what I've got. 126 00:13:33,559 --> 00:13:37,200 Some people some people cook. Some people cook, you know, they 127 00:13:37,279 --> 00:13:43,720 provide beautiful meals for other people. Some people paint. I write songs and 128 00:13:45,279 --> 00:13:50,480 sing them. I'm really dumbing it down now, But what's behind it is 129 00:13:50,559 --> 00:13:56,600 the fuel is the desire to connect and the desire to enable people. Because 130 00:13:56,600 --> 00:14:01,279 we live in a very very scary world. So anything that we can do 131 00:14:01,519 --> 00:14:05,679 to help to realize there is more, There is more than that which we 132 00:14:07,000 --> 00:14:13,480 you know, we see and that we're we're worried about. So yeah, 133 00:14:13,600 --> 00:14:18,600 keep listening to the song though, Yeah, yeah I will, I might, 134 00:14:18,679 --> 00:14:22,639 I might might make it part of my daily meditation. We'll see. 135 00:14:22,799 --> 00:14:26,919 No, it is, it is. It is really beautiful. And now, 136 00:14:26,600 --> 00:14:30,960 so the songs that you sent me, so you sent me for that, 137 00:14:31,080 --> 00:14:33,720 that's one of them and we'll get the other three in. But are 138 00:14:33,799 --> 00:14:37,559 these are these collaborations with different people, because like I said, you you 139 00:14:37,759 --> 00:14:41,519 are such a prolific collaborator. It's I I can't keep track of of of 140 00:14:41,600 --> 00:14:46,679 who you're working with on? What are these all over Saul songs? I 141 00:14:46,759 --> 00:14:50,039 didn't they're not I didn't think so, yeah, that's the only one. 142 00:14:50,399 --> 00:14:56,919 The others are my birth name Breakoats as a as a performer. But the 143 00:14:56,000 --> 00:15:03,279 others are even more collaboration than the song that you've just played, shake it 144 00:15:03,440 --> 00:15:07,480 Up. And there are five versions of the same song, so they were 145 00:15:07,559 --> 00:15:13,799 all collaborated with different people, and the basic premises, same lyrics. An 146 00:15:13,840 --> 00:15:20,840 incredible human being in the UK, Caroline Brown, that's fantastic with words. 147 00:15:20,840 --> 00:15:26,879 And we've collaborated a couple of times previously, so same lyrics, same vocalist 148 00:15:28,080 --> 00:15:33,519 me, same four chord progression. And I suppose in some ways I'm going 149 00:15:33,559 --> 00:15:37,440 to kind of be open and honest because I feel I am with you is 150 00:15:37,120 --> 00:15:39,639 I kind of was getting a bit tired and a bit fed up of, 151 00:15:41,440 --> 00:15:46,320 you know, this plastic way of the music business, particularly, and I'm 152 00:15:46,480 --> 00:15:50,559 in my fifties trying to make my way musically. I love what I do, 153 00:15:52,639 --> 00:15:54,840 but I'm kind of starting a career, I guess you could say, 154 00:15:54,840 --> 00:15:58,200 at the other end of life, which is not usual you and I thought, 155 00:15:58,480 --> 00:16:04,639 okay, what can I do differently? So rather than thinking murmur horrible. 156 00:16:04,720 --> 00:16:08,679 You know, I wish I was younger, you know, I would 157 00:16:08,720 --> 00:16:11,039 be able to do more. Then I thought, no, you know, 158 00:16:11,240 --> 00:16:15,360 I need to do something a little bit differently. So the basic idea came 159 00:16:15,519 --> 00:16:19,840 up with five versions of the same song, all released at the same time, 160 00:16:22,279 --> 00:16:25,399 and as far as I know, nobody has ever done that before. 161 00:16:26,039 --> 00:16:33,639 So in a way, if I'm doing anything, I'm sharing, think outside 162 00:16:33,679 --> 00:16:36,720 the box, do things differently and shake it up. There's Spin one, 163 00:16:37,159 --> 00:16:40,080 which I know you're going to play, Spin two, Spin three, Spin 164 00:16:40,240 --> 00:16:45,039 four, and Spin five. I'm now with a band who is Dan So 165 00:16:45,240 --> 00:16:48,799 ours is the fifth version, and they're all different because they would they would 166 00:16:48,840 --> 00:16:55,240 be because they're all different people and different collaborations. And I just I'm doing 167 00:16:55,279 --> 00:17:00,240 that. I'm shaking it up, creating a reform in in my own way. 168 00:17:00,799 --> 00:17:03,840 You know what's cool about that ray is it reminds me of when I 169 00:17:03,000 --> 00:17:08,880 was a kid. If there was a song I particularly liked, the one 170 00:17:08,880 --> 00:17:11,799 of the most thrilling things in the world to me would be when I would 171 00:17:11,839 --> 00:17:15,920 find a remix of that song. Yeah, you know, and it's like, 172 00:17:17,279 --> 00:17:19,160 you know, because it's like this great song that now, oh, 173 00:17:19,240 --> 00:17:22,880 there's this other version, you know, and it would kind of renew the 174 00:17:23,039 --> 00:17:26,359 song for me. You know, it's like, oh I already really liked 175 00:17:26,400 --> 00:17:27,400 this song. Now I like it even more. There's this other version. 176 00:17:27,839 --> 00:17:36,480 And I remember too getting these. You know, Vinyl obviously never went away, 177 00:17:36,559 --> 00:17:40,640 and in some ways it's there's more Vinyl than ever. But I remember 178 00:17:40,640 --> 00:17:44,960 when I was a kid, you know, these Vinyl albums would come out 179 00:17:45,000 --> 00:17:48,240 that were actually you know, they called them seven inch they were just you 180 00:17:48,319 --> 00:17:49,759 know, full of remixes. You know, you could get a song and 181 00:17:49,839 --> 00:17:53,319 then several different versions of the song, just different mixes. You know, 182 00:17:53,440 --> 00:17:56,000 there might be a dance mix, there might be a rock mix, whatever. 183 00:17:56,119 --> 00:18:00,599 And I just I always loved that. That's why I'm someone too who 184 00:18:00,799 --> 00:18:06,920 I was always I like when people because not everyone's into it, you know, 185 00:18:07,039 --> 00:18:11,640 when people take other people's music and remix it or sample it or whatever 186 00:18:11,759 --> 00:18:18,480 configuration they're using it and using existing music to create new configurations of that music. 187 00:18:18,559 --> 00:18:21,559 But I've always loved that. I love it ever since I was a 188 00:18:21,680 --> 00:18:25,359 kid. You know, the mash up. The mashup is I think it's 189 00:18:25,400 --> 00:18:27,519 a real art form. Oh yeah, I really do. When people can 190 00:18:27,680 --> 00:18:33,759 you know, weave together different parts of different songs and actually make a new 191 00:18:33,839 --> 00:18:37,319 structure again. It's like it's like cooking, isn't It's different ingredients and people 192 00:18:37,400 --> 00:18:44,000 are mixing them and that that's infinite. That's infinite what you can achieve. 193 00:18:44,200 --> 00:18:48,599 So and you've kicked off, in my mind, a twelve inch version of 194 00:18:48,839 --> 00:18:53,759 one of the Shake It Up songs on vinyl oh vinyls making a massive, 195 00:18:53,839 --> 00:19:00,440 massive comeback, So that could be a few future prospects as well. And 196 00:19:00,799 --> 00:19:06,200 I think it's this, if things don't work the way they want to work 197 00:19:06,279 --> 00:19:10,799 for you, find your own way, make your own way. And that's 198 00:19:10,880 --> 00:19:12,799 that's basically what I did, And I'll be open and honest. It came 199 00:19:12,839 --> 00:19:17,839 a little bit from thinking, I feel like I'm banging my headquains to brick 200 00:19:17,920 --> 00:19:22,799 wall. But what I chose to do is stop doing that and think the 201 00:19:22,880 --> 00:19:26,799 wall's not going to fall down by you banging your head against Try a different 202 00:19:26,880 --> 00:19:32,440 way. And that's us as humans, isn't it. We find a way 203 00:19:32,519 --> 00:19:37,200 to reinvent things and do things, and that's that's what Shake it Up is. 204 00:19:37,319 --> 00:19:41,039 So if I'm going to give listeners any advice, you know, try 205 00:19:41,039 --> 00:19:44,599 if you can to have a listen to all five because it's a really really 206 00:19:44,680 --> 00:19:53,039 interesting experience because they are so different, so different. Well we should play. 207 00:19:53,599 --> 00:19:56,079 Let's let's play the version that you sent me. Now, so this 208 00:19:56,279 --> 00:19:59,680 is so, this is shaken up. This is what do you call it? 209 00:19:59,759 --> 00:20:03,000 Version and one mix one. Let's spin spin one, oh, spin 210 00:20:03,119 --> 00:20:06,279 one, yes, yes, all right, let's give let's give this a 211 00:20:06,400 --> 00:20:08,759 listen. Now, although some people might not know what you mean by spin, 212 00:20:08,880 --> 00:20:11,519 but then we'll just remind people there are there are such a thing as 213 00:20:11,640 --> 00:20:17,359 as vinyl records, and uh, you know, and and and way back 214 00:20:17,400 --> 00:20:18,640 in the day, that's what they used to do in radio. They would 215 00:20:18,640 --> 00:20:22,359 they would actually uh put on put on vinyl records and play them. But 216 00:20:22,599 --> 00:20:25,960 uh, all right, let's give this a listen. So this is the 217 00:20:26,039 --> 00:20:29,559 spin one version of a shake It Up. And this is this is not 218 00:20:29,759 --> 00:20:33,240 over soul, correct, this is Ray Coats, Raycoats featuring Caroline Brown. 219 00:20:33,279 --> 00:20:40,559 It's actually got the lyricist Caroline Brown her voice. Oh okay, okay, 220 00:20:40,640 --> 00:20:41,720 cool, all right, let's give this a listen. Here it is shake 221 00:20:41,759 --> 00:20:59,599 it Up Spin one, this shake it up right now, just shake it 222 00:20:59,799 --> 00:21:07,720 up, shaky God, the truth be off shaking my wondrous spin. Let's 223 00:21:08,000 --> 00:21:15,720 get the ripon even there, just a moment to sap the cli and the 224 00:21:15,880 --> 00:21:26,519 suffocating skin, the shaking a riding down the shagar riding. Now, let's 225 00:21:26,559 --> 00:21:38,720 shake it up body now, shot shot you shake it up and shaded prospicidity 226 00:21:40,720 --> 00:21:48,559 doesn't man a bit. The great sun cats drive and blind calling wildly. 227 00:21:48,359 --> 00:21:55,279 We can't have a banging headscains the wall. The shake it a right now, 228 00:21:56,559 --> 00:22:03,559 let's shake here of d now see lit's see here up right now, 229 00:22:06,319 --> 00:22:15,720 listen up, shave it up, waiting at the hope, struck numb by 230 00:22:15,880 --> 00:22:19,880 rules that make no sense at all. Let's see here last right now, 231 00:22:22,400 --> 00:22:26,519 let's open up the door. Let's shake it up right now, Let's utilize 232 00:22:26,559 --> 00:22:38,079 the power. Let's shake it up right now. You'll shake it up right 233 00:22:38,279 --> 00:22:48,200 now. Let's shave here up right now. Just shave it up right now. 234 00:22:55,720 --> 00:23:44,160 Let's shot up right now. That is very very catchy, shake it 235 00:23:44,279 --> 00:23:48,079 up, shake it up, spin one, what's that right? You're not 236 00:23:48,160 --> 00:23:49,920 going to igno, right, are you? That is catchy as hell. 237 00:23:52,440 --> 00:23:55,359 I was sitting here. I was sitting here, you know, I'm often 238 00:23:55,440 --> 00:23:57,759 holding a pen and I'm sitting here tapping the pen on my knee while it's 239 00:23:57,799 --> 00:24:02,200 playing. Yeah, really really good. Ray Coates is here with us via 240 00:24:02,279 --> 00:24:04,839 Skype, all the way from the UK, and that is shaking up Spin 241 00:24:04,960 --> 00:24:07,759 one with Caroline Brown. That's who's on there with you. That's it. 242 00:24:08,039 --> 00:24:11,000 That's it, absolutely, yeah, yeah, really good. I love the 243 00:24:12,440 --> 00:24:15,240 Where do you record? I'm sure I've asked you this before because I love 244 00:24:15,319 --> 00:24:22,000 them the way that sounds. It's in near to Warrington is the best place 245 00:24:22,359 --> 00:24:26,759 I can describe. And it's funny because I've heard Mark playing the guitar this 246 00:24:26,960 --> 00:24:32,920 morning, so as I'm listening to these tracks, I'm remembering and he's such 247 00:24:32,920 --> 00:24:36,920 a wonderful guy, Mark, and he's not particularly one of the people that 248 00:24:37,039 --> 00:24:42,599 comes into social media, which I totally totally understand and respect, but so 249 00:24:42,839 --> 00:24:48,440 intechral to everything I do. I come to Mark often with an idea of 250 00:24:48,519 --> 00:24:56,079 a song and he just puts so much incredible particular guitar energy into it and 251 00:24:57,359 --> 00:25:00,599 you know, takes it onto a different level. As you could hear, 252 00:25:00,640 --> 00:25:06,920 particularly in that song as well, the guitar solos are amazing. The uh 253 00:25:07,799 --> 00:25:11,119 the first thing that I noticed is the drums are Now are those are those 254 00:25:11,160 --> 00:25:15,920 real? Drums or are those program drums? Because they sound they sound real 255 00:25:15,039 --> 00:25:18,599 programmed, Thank you, they're the program. But but funny enough with the 256 00:25:18,680 --> 00:25:22,359 band. Now with who is Dan? It's me Rob Fox, a drummer, 257 00:25:22,880 --> 00:25:27,400 and Chris Mikael guitarist. So now we're actually recording if you listen to 258 00:25:27,519 --> 00:25:32,640 Spin five, so shake it up, Spin five? Who is Dan? 259 00:25:33,519 --> 00:25:38,559 That is all completely real instruments. Okay, and yeah, so it's it 260 00:25:38,680 --> 00:25:41,200 is different. You're right, but it does. It does sound authentic, 261 00:25:41,359 --> 00:25:47,519 doesn't it. It's amazing the drum sounds you can get now. You know, 262 00:25:48,039 --> 00:25:52,079 way back, I remember when when you know that the technology wasn't quite 263 00:25:52,119 --> 00:25:53,599 there as far as you know, like you could sort of tell, you 264 00:25:53,680 --> 00:25:56,960 know, I mean, I'm talking like thirty years ago. You could kind 265 00:25:56,000 --> 00:26:00,680 of tell when when drums were programmed because a lot of you know, if 266 00:26:00,720 --> 00:26:03,799 you if you go on YouTube, you can find a lot of demos of 267 00:26:03,279 --> 00:26:07,319 bands from you know, way back, you know, demos that were never 268 00:26:07,359 --> 00:26:11,039 supposed to be heard by the public. You're only supposed to hear the finished 269 00:26:11,119 --> 00:26:12,880 product. But these things leak out and they get on YouTube and then you 270 00:26:12,920 --> 00:26:15,920 can hear you know, you can often hear program drums and these demos and 271 00:26:17,200 --> 00:26:19,680 you can tell. But now it's just amazing, Like those drums just sound 272 00:26:19,720 --> 00:26:22,960 really good, really punchy, you know, and obviously very important to the 273 00:26:23,000 --> 00:26:30,079 song. Really kind of drives the song. And and and now in terms 274 00:26:30,119 --> 00:26:36,359 of your your collaborating and you even't you haven't had me do uh for something, 275 00:26:36,440 --> 00:26:37,880 I was going to say that, I was going to say that thank 276 00:26:37,960 --> 00:26:42,039 you, which is part of a project of the next two songs, so 277 00:26:42,200 --> 00:26:48,160 that works, which is with a gentleman named John Sheatham. I'll keep the 278 00:26:48,279 --> 00:26:53,519 message brief, but this is pretty much what John shares. He was in 279 00:26:53,759 --> 00:27:00,519 real estate, in property in the UK, and it took him to a 280 00:27:00,599 --> 00:27:07,440 couple of different countries, but particular particularly Bulgaria, and long story short, 281 00:27:07,480 --> 00:27:12,440 as part of a real estate deal Bulgaria went in the EU at the time, 282 00:27:14,599 --> 00:27:19,799 John was shot by the Bulgaria mafia because they didn't want this ground to 283 00:27:19,960 --> 00:27:26,039 be purchased. And it was by a gentleman that had asked John, can 284 00:27:26,119 --> 00:27:30,039 you can you come with me to Bulgaria to you know, clinch this deal? 285 00:27:30,920 --> 00:27:37,119 And John was effectively left for dead. And it's a it's a it's 286 00:27:37,160 --> 00:27:45,359 an absolutely astonishing count I've sent you an electronic copy of the book Fall Guy. 287 00:27:45,319 --> 00:27:51,640 I would strongly recommend anybody you know. It's we're taking it from a 288 00:27:51,680 --> 00:27:56,519 book to film, which is sense where the soundtracks coming in. And Horsepower 289 00:27:56,880 --> 00:28:02,200 the song that you very very kindly gave your incredible voice, and it worked 290 00:28:02,240 --> 00:28:07,359 so well, and I knew it would. You're effectively without knowing it yet. 291 00:28:08,599 --> 00:28:15,119 You are the horse race commentator and you're commentating on John's life and that 292 00:28:15,279 --> 00:28:21,480 will go into the song Horsepow, which will be part of the soundtrack album. 293 00:28:22,240 --> 00:28:26,839 And John is just he's a living miracle. How this guy is still 294 00:28:26,880 --> 00:28:30,880 alive. And it's not just the shooting, it's what happened afterwards. So 295 00:28:32,720 --> 00:28:36,440 this is going to become a film, no doubt. We've got some people 296 00:28:36,599 --> 00:28:40,720 interested, but we're looking to reach out to people as well. So that's 297 00:28:40,799 --> 00:28:45,319 a massive collaboration project at the moment that we're working on. And your voice 298 00:28:45,440 --> 00:28:52,359 is absolutely perfect in not just your voice, but the way you deliver it. 299 00:28:52,359 --> 00:28:57,200 It fits so well and you'll get to hear that. Oh wow, 300 00:28:57,319 --> 00:29:00,079 yeah, I can't wait. Thank you. Yeah, I was very very 301 00:29:00,160 --> 00:29:06,319 honored that you asked me to do that, And yeah, that's quite a 302 00:29:06,400 --> 00:29:08,079 story he has. I mean, you know how many people have you met 303 00:29:08,119 --> 00:29:11,640 who can say they were shot by the Bulgarian mafia for one thing? Jeez? 304 00:29:12,559 --> 00:29:18,319 Absolutely, absolutely, And he's just one of those people that and he's 305 00:29:18,359 --> 00:29:25,880 a phenomenal lyricist. That's where we create and we're working on this current project, 306 00:29:25,920 --> 00:29:30,319 but also others. And I think it's when you've only got two arms 307 00:29:30,400 --> 00:29:33,680 and two legs as much as you can in life, you want to try 308 00:29:33,720 --> 00:29:38,599 and grow a few more arms and legs. I think you know where I'm 309 00:29:38,640 --> 00:29:44,400 going, and that's where I'm coming from with incredible lyricists, because predominantly I'm 310 00:29:44,440 --> 00:29:49,960 a lyricist, but ironically I have all these people around me that create these 311 00:29:51,079 --> 00:29:56,480 words that then create the inspiration musically and me for the projects that are being 312 00:29:56,599 --> 00:30:02,240 shared. And full Guy is it's going to be an incredible piece of work. 313 00:30:02,319 --> 00:30:06,319 And the two songs so far fall Guy is the single that's released, 314 00:30:06,960 --> 00:30:10,680 Cry is going to be an exclusive. This has never been played on a 315 00:30:11,000 --> 00:30:17,279 radio station. Ever, It's not released until next Friday, so the two 316 00:30:17,440 --> 00:30:22,880 songs are going to be exclusive plays, particularly in America as well. Oh 317 00:30:22,079 --> 00:30:26,039 very cool. Okay, Well, let's let's give Fall Guy a spin, 318 00:30:26,400 --> 00:30:30,039 Shall we wonderful? All right? All right here it is. This is 319 00:30:30,400 --> 00:30:34,359 fall guy Raycoat's live with us, skyping in all the way from the UK. 320 00:30:34,799 --> 00:30:56,160 Check this out. So we are made to take a far scan that 321 00:30:56,440 --> 00:31:07,720 was now in fun passes by, happy to collect body damage, mind rap 322 00:31:08,680 --> 00:31:18,920 surrounded by side as all ramp racing through that cold. What's happened? Do 323 00:31:18,200 --> 00:31:32,519 you rest? Up? Signs fusifully telegraph lights days and you shine at days 324 00:31:32,680 --> 00:31:40,559 you hide the vein whilst looking down on your scene the plates. You know, 325 00:31:41,039 --> 00:31:51,599 sometimes it's just a lake the sun signs. We are made to take 326 00:31:51,880 --> 00:32:07,960 a farm. No matter understand, No man don't know the raison up became 327 00:32:08,400 --> 00:32:23,440 the foul quote un coming is the echo woe as they did part and disperse, 328 00:32:24,480 --> 00:32:35,200 trolley dest white coat wool all over the way. Too soon heavies came 329 00:32:35,319 --> 00:32:44,720 and throw me away. Unfortunately left him a little too lame sometime so be 330 00:32:45,240 --> 00:32:57,000 froze and passed down jumping must since I days then you shine, and days 331 00:32:57,160 --> 00:33:05,000 you hid the way I was looking down on you see fag. You know, 332 00:33:05,480 --> 00:33:15,880 sometimes it's just made some signs. We are made to take your father, 333 00:33:17,559 --> 00:33:34,720 No man said, No man, tell no reason why African the farm 334 00:33:35,240 --> 00:33:45,319 girl one lay down until a firmer graund I can stay near the angels amplified 335 00:33:45,519 --> 00:33:52,119 sound. Now this no escape out to fight. I've just simply lost my 336 00:33:52,279 --> 00:34:08,719 life to sign signs be on me to take kerfoon. You never say no, 337 00:34:10,400 --> 00:34:24,039 how to reason? Why became to fun guy? To no reason? 338 00:34:24,440 --> 00:34:45,039 Why became to the phone guy? Fun guy? Oh that is cool, 339 00:34:45,159 --> 00:34:49,480 fall guy. We have ray coats with us, Yes, Skype and uh 340 00:34:49,960 --> 00:34:52,760 what that could be? Uh that could be a James Bond theme, ray 341 00:34:54,880 --> 00:35:01,000 perfect, your your your ears are a tru And that's it. That's it. 342 00:35:01,119 --> 00:35:06,880 Really, that's how I see it. I when I wrote the song 343 00:35:07,280 --> 00:35:12,239 and as it formed, and especially now in the form it is in, 344 00:35:12,840 --> 00:35:17,360 I often close my eyes and think of the screening because I've read John's story, 345 00:35:17,440 --> 00:35:21,679 I've read his life. Those are his words. He's the lyricist. 346 00:35:22,000 --> 00:35:29,039 So I picture, I picture images, and it's such a such a powerful 347 00:35:29,159 --> 00:35:32,360 story. It's it could sound like many things in life morbid. But we 348 00:35:32,440 --> 00:35:37,119 can't we can't avoid. We can't avoid. You mentioned earlier, you know, 349 00:35:37,239 --> 00:35:42,199 the scary things in life. But the amazing thing is, as many 350 00:35:42,239 --> 00:35:47,039 people do, John's live to tell the tale and it's for him to share 351 00:35:47,159 --> 00:35:52,480 more than me in a way. But I'm just genuinely incredibly privileged to be 352 00:35:52,679 --> 00:35:59,280 beside somebody who is a warrior, a victor and just such an incredible grounded 353 00:35:59,360 --> 00:36:07,039 human being who has been no shadow of a doubt to hell n back and 354 00:36:07,880 --> 00:36:10,280 to be with him is incredible. We're going to be across to the US 355 00:36:10,920 --> 00:36:16,440 in the future. I know that John loves to travel, so you might 356 00:36:16,519 --> 00:36:22,000 have to try and get rid of us, but but it will be it 357 00:36:22,039 --> 00:36:25,519 will be a pleasure to share, particularly horsepower. I'm very excited about that. 358 00:36:27,400 --> 00:36:30,800 So there's much to come, much to come from myself and John. 359 00:36:30,400 --> 00:36:35,440 And uh yeah, and you've still got that Uh do do people tell you 360 00:36:35,559 --> 00:36:37,760 this or is it just me to me? You've really got that Bowie vibe? 361 00:36:38,760 --> 00:36:43,320 I have had that before, And well, yes, thank you very 362 00:36:43,400 --> 00:36:47,679 much. I'll totally accept that. Yeah, yeah, absolutely absolutely, that's 363 00:36:49,400 --> 00:36:52,320 now. So when is that gonna When is the full album going to be 364 00:36:52,360 --> 00:36:58,599 out? For that date wise? Great question. I think it's around about 365 00:36:58,760 --> 00:37:01,280 June. Were gradual doing it a little bit slightly old school, I guess, 366 00:37:01,480 --> 00:37:07,920 releasing a couple of singles. So fall guys out now, already that's 367 00:37:07,920 --> 00:37:13,079 available everywhere. Yeah, cry Next, then we have two songs I will 368 00:37:13,199 --> 00:37:15,679 name them now. I'm quite happy to do that, Folklore and Tales. 369 00:37:16,280 --> 00:37:22,559 I'm actually working on that today. I've had a very very victorious song called 370 00:37:22,679 --> 00:37:25,679 Run for the Roses. They're going to be the singles to begin with, 371 00:37:25,920 --> 00:37:32,440 and then the album will come out, which will include songs Vices, Horsepower, 372 00:37:34,239 --> 00:37:38,840 Thoughts, Time, and also a spoken version of full Guy. So 373 00:37:39,079 --> 00:37:45,719 John's voice is going to be included. I'm very much about integrating and embedding 374 00:37:45,559 --> 00:37:52,119 the spirit of people and voices and energy, so you know, I like 375 00:37:52,280 --> 00:37:58,239 that. I love the thought of voices being included in things of people that 376 00:37:58,920 --> 00:38:01,239 are part of the project. It's like, for example, Caroline and Shake 377 00:38:01,320 --> 00:38:07,800 it Up. So, yeah, do you do you collaborate with people from 378 00:38:07,960 --> 00:38:13,760 I mean obviously you know you had had me do something. Have you collaborated 379 00:38:13,840 --> 00:38:17,719 with other people from America? No? No, not not recently. Have 380 00:38:17,800 --> 00:38:21,880 in the past, have in the past, but not recently, so a 381 00:38:21,960 --> 00:38:25,480 couple of years ago. But definitely want to. I mean, I'd love 382 00:38:25,960 --> 00:38:31,519 that, I will not I'd love I will I will be over and it's 383 00:38:32,639 --> 00:38:37,599 got to happen. I want to create with as many people as I possibly 384 00:38:37,679 --> 00:38:42,159 can. So when you agreed to add in your voice, it is just 385 00:38:43,119 --> 00:38:45,159 it's so great, isn't it When you know you connect with people and what 386 00:38:45,400 --> 00:38:50,960 you do and your your voice as it comes through the airwaves, and you 387 00:38:51,079 --> 00:38:55,480 think, it's just so many opportunities to spin that off, no pun, 388 00:38:55,559 --> 00:39:00,519 intense, spin that off into other things. And I think that's what I 389 00:39:00,599 --> 00:39:05,639 want to do because I feel the more we can share together, the better. 390 00:39:06,159 --> 00:39:07,960 Well, well, that's the thing I often marvel it's uh, and 391 00:39:08,039 --> 00:39:10,639 I comment on it and on the show, is that it's an amazing time 392 00:39:10,719 --> 00:39:15,559 to be alive because you know, we have the ability with the technology that 393 00:39:15,679 --> 00:39:20,679 we have to to be able to collaborate with people so easily. You know, 394 00:39:20,840 --> 00:39:23,800 you can email files back and forth. And you know, had had 395 00:39:23,880 --> 00:39:29,159 we had we existed, you know a few decades earlier, you know, 396 00:39:29,239 --> 00:39:31,920 we would have missed out on that. So it's it's really I think in 397 00:39:31,960 --> 00:39:35,159 a way that kind of goes back to what you were saying earlier. You 398 00:39:35,199 --> 00:39:37,559 know, you were talking about living in the moment that song chronos and you 399 00:39:37,639 --> 00:39:40,039 know, focusing on the now, and it's you know, if you if 400 00:39:40,079 --> 00:39:44,960 you do stop and think about it. The now is pretty incredible, you 401 00:39:45,039 --> 00:39:46,280 know. I mean, we're both old, and we're both old enough to 402 00:39:46,360 --> 00:39:51,159 remember you know, when uh, you know, a pre internet, you 403 00:39:51,239 --> 00:39:52,840 know, you you go to the record store. And don't get me wrong, 404 00:39:52,880 --> 00:39:57,119 I have wonderful memories of being a kid and going to the record store 405 00:39:57,159 --> 00:40:01,440 and flipping through and finding things or CDs. You know. But but now, 406 00:40:02,039 --> 00:40:07,320 you know, we have access to so much and and we can collaborate 407 00:40:07,480 --> 00:40:10,679 easily with people in other parts of the world, and it really is pretty 408 00:40:10,719 --> 00:40:15,360 remarkable when you think about, you know, and people get people get nervous 409 00:40:15,360 --> 00:40:19,159 about technology too because of AI and things, and that's a whole other subject 410 00:40:19,199 --> 00:40:22,760 that we discuss sometimes on the show. But but but it's but it's pretty 411 00:40:22,760 --> 00:40:27,880 hard to be negative on you know, some people are technophobic, but it's 412 00:40:27,880 --> 00:40:30,679 pretty hard to be negative on technology and the grand scheme of things when you 413 00:40:30,760 --> 00:40:34,599 think of how it enhances our lives and in all kinds of ways. But 414 00:40:34,920 --> 00:40:39,880 creatively, I mean, it's just what it does for us is pretty remarkable, 415 00:40:40,960 --> 00:40:45,360 totally agreement, and like all things in life, it depends on how 416 00:40:45,400 --> 00:40:51,559 it's used. So there's there's nothing wrong with a knife. A knife is 417 00:40:51,679 --> 00:40:55,840 not a bad thing. A car is not a bad thing. Hands are 418 00:40:55,880 --> 00:41:00,280 not bad things. It depends on how they used, right. So technology 419 00:41:00,400 --> 00:41:05,559 is not within itself a bad thing, right, It depends on how it's 420 00:41:05,679 --> 00:41:09,079 used. So I think the key thing is focus on, very very carefully 421 00:41:09,199 --> 00:41:15,039 the intention of everything, and not in a sense that is just a cliched 422 00:41:15,840 --> 00:41:20,280 throwaway. Well, I'm using it for a good purpose. Many people could 423 00:41:20,360 --> 00:41:24,480 argue that for many different things. But I think for me and what encouraging 424 00:41:24,559 --> 00:41:29,920 others is whatever it is, you've got, use it to the greatest good 425 00:41:30,000 --> 00:41:35,000 you possibly can for yourself and of course, by extension, for others. 426 00:41:35,719 --> 00:41:39,280 And the more we do that with whatever it is, then the greater the 427 00:41:39,360 --> 00:41:45,280 experiences for us and for others. And I look at creativity in the same 428 00:41:45,360 --> 00:41:50,559 way. There's no threat, there's no competition, there's nothing to be afraid 429 00:41:50,639 --> 00:41:58,239 of because the thing will be more with more people, and that's really integral 430 00:41:58,320 --> 00:42:00,960 to everything I do. Totally right. We couldn't have done in a way 431 00:42:01,320 --> 00:42:07,679 what we did, which was relatively smooth when you think about it. Oh 432 00:42:07,800 --> 00:42:12,440 yeah, of you sharing, as you say, a vocal file, a 433 00:42:12,519 --> 00:42:17,519 wab file that now is in the song and I'd love to be able to 434 00:42:17,599 --> 00:42:22,400 have the opportunity when it's completed to come back and play. Oh definitely, 435 00:42:22,519 --> 00:42:28,760 of course, Oh absolutely absolutely, Ray. But before we before it gets 436 00:42:28,760 --> 00:42:30,800 too late, I want to make sure that our listeners know where to keep 437 00:42:30,880 --> 00:42:35,000 up with everything that you're doing, everything that you're going on, you're always 438 00:42:35,039 --> 00:42:39,400 creating, you're always collaborating. What's the best way for people to follow you 439 00:42:39,559 --> 00:42:44,880 and keep up with you. I think when I've worked out how I can 440 00:42:45,039 --> 00:42:49,199 keep up with me, then I think probably then fair enough. No, 441 00:42:51,559 --> 00:42:54,920 website is probably the easiest placed. At my name, I'm very approachable, 442 00:42:55,440 --> 00:43:01,920 but the website is Raycoats That co a t E Voice dot com, so 443 00:43:02,159 --> 00:43:09,840 Raycoats Voice dot com. Across social media Raycoats or Raycoat's Voice. I wanted 444 00:43:09,960 --> 00:43:15,559 just to quickly say before we move on, to give a public thank you 445 00:43:15,719 --> 00:43:22,599 to my partner, Michelle Roach. And to be able to do what I 446 00:43:22,880 --> 00:43:27,199 do, which is a lot, and over the last few years it's expanded 447 00:43:27,280 --> 00:43:32,440 and extended. You need to be surrounded by good people. Michelle isn't feeling 448 00:43:32,480 --> 00:43:37,519 particularly well at the moment, just generally not particularly feeling very well, so 449 00:43:37,599 --> 00:43:45,559 I wanted just to say a public thank you. There's no kind of flowering 450 00:43:45,639 --> 00:43:52,239 ness in that. I can't not mention Michelle because we've written together. She 451 00:43:52,480 --> 00:43:58,800 supported what I'm doing and has enabled the majority of what I share now. 452 00:44:00,079 --> 00:44:02,639 Wanted just to give a public gratitude to the show. Oh, very nice, 453 00:44:02,760 --> 00:44:06,639 very nice. No, I think that's that's wonderful. And you know, 454 00:44:06,719 --> 00:44:10,000 hope she feels better and yeah, no, that's very good, very 455 00:44:10,039 --> 00:44:14,199 good. Ray, Well, in a moment, we're gonna play well, 456 00:44:14,280 --> 00:44:16,920 we'll finish out the segment with this track cry and uh so I get this 457 00:44:16,960 --> 00:44:21,719 will be the world radio premire. This hasn't been played anywhere else. Completely 458 00:44:22,280 --> 00:44:25,480 very cool, very cool, and anything you want to tell us about this 459 00:44:25,880 --> 00:44:31,440 track specifically before we before we play it without over explaining. It is John's 460 00:44:31,519 --> 00:44:37,320 return back to the UK from Bulgaria because of his injuries that were serious. 461 00:44:37,440 --> 00:44:40,519 It took him four and a half years to walk and talk again. Wow, 462 00:44:42,000 --> 00:44:46,039 he lost his property, he was living in the people he was working 463 00:44:46,079 --> 00:44:50,800 for at the time. Most of the names in the book have been changed 464 00:44:51,599 --> 00:44:55,440 because there's a number of safeguarding issues in terms of no doubt John, He's 465 00:44:55,480 --> 00:45:00,199 had to change change a few names, but the person he was working within 466 00:45:00,320 --> 00:45:05,719 the real estate was didn't take good care of John at all. So John 467 00:45:05,880 --> 00:45:12,480 John was just basically hung out to dry and cry. The cover artwork so 468 00:45:12,599 --> 00:45:16,639 when people look for this when it's released officially next Friday, is John on 469 00:45:16,800 --> 00:45:23,760 the cover outside the property that he lost as a result of his life changing 470 00:45:23,840 --> 00:45:30,440 injuries and the financial reversal he faced, and the songs about where he was 471 00:45:30,519 --> 00:45:35,280 living. So it's very emotional, but it's it finishes. I want to 472 00:45:35,320 --> 00:45:39,760 share this message so that the song represents all of us. We've all had 473 00:45:39,840 --> 00:45:45,559 those days. Some days, we've all we've all had those periods where we 474 00:45:45,960 --> 00:45:51,039 just want to cry and we just need to cry. So it's a representation 475 00:45:51,320 --> 00:45:59,320 of real, real deep level emotion and exercising those feelings through through crying, 476 00:45:59,719 --> 00:46:02,840 through crying, that's what cry is. Yeah, very good and as you 477 00:46:04,000 --> 00:46:06,960 uh you know, as your reference, it's relatable. We all, uh, 478 00:46:07,119 --> 00:46:08,440 we all have those moments. But wow, boy, what he all 479 00:46:08,519 --> 00:46:13,599 though. You know, I don't know really anybody who's been through what he's 480 00:46:13,639 --> 00:46:17,400 been through on that scale. So very interesting. So we will, uh 481 00:46:17,480 --> 00:46:21,119 we'll play that in a moment, but and uh, we'll let you We'll 482 00:46:21,159 --> 00:46:22,760 let you go Ray, thank you so much for joining us today, though, 483 00:46:22,800 --> 00:46:25,039 my friend, it's always such a pleasure to talk to you, and 484 00:46:25,760 --> 00:46:30,360 you know, and and uh you remind you remind me of some positive things, 485 00:46:30,519 --> 00:46:32,280 you know, in terms of living in the moment and stuff. I 486 00:46:32,320 --> 00:46:37,199 don't you know, I I I, I don't just uh say that to 487 00:46:37,280 --> 00:46:39,880 say it. I I. It's good to be reminded, you know what 488 00:46:39,960 --> 00:46:47,760 I mean. We need it, absolutely, absolutely all right, So we'll 489 00:46:47,840 --> 00:46:52,559 let you go. Ray Coats, thank you again, my friend. Thank 490 00:46:52,639 --> 00:46:54,360 you very much, Matt, and thank you to everyone for listening. And 491 00:46:57,239 --> 00:47:01,000 yeah, we'll we'll, we'll we'll be together again, absolutely all right, 492 00:47:01,079 --> 00:47:28,639 Thanks Ray. And uh here it is. This is called fry. I 493 00:47:28,840 --> 00:47:37,760 thought I heard the buildings cry as I casually walked on by him. I'm 494 00:47:37,960 --> 00:47:43,199 my way to meet a friend. First thing, she said, Get those 495 00:47:43,360 --> 00:47:50,559 thoughts out of your head. I want this now to end. Go and 496 00:47:50,760 --> 00:47:58,360 smash down glass scenings, seek out those opportunities, open up that lonesome locktop, 497 00:47:58,960 --> 00:48:02,079 just like you've done for years before. You may lose a battle. 498 00:48:04,400 --> 00:48:10,440 But when long Halla wanted to do his side, hall I wanted to do 499 00:48:12,039 --> 00:48:17,679 is cry right through the nath Hall. I want to do is cry bout 500 00:48:17,760 --> 00:48:24,119 a pear from the inside. Hall I wanted to do his cry, cry, 501 00:48:24,760 --> 00:48:39,440 cry, cry out loud. We kissed and said our goodbye. Then 502 00:48:39,519 --> 00:48:50,280 I began to realize the power everything that she said, raised those things out 503 00:48:50,360 --> 00:48:58,039 of your head on the snout said, So I'm went and smashed down those 504 00:48:58,159 --> 00:49:05,719 ceilings, shot up those opportunities. Don't that long slocktow, just like I 505 00:49:05,880 --> 00:49:10,559 done for years before. Remember how may lose about him? Like when Lord, 506 00:49:10,960 --> 00:49:16,920 all I had to do was cry. All I had to do was 507 00:49:17,559 --> 00:49:23,960 cribed on doing that. All I had to do was cry out a bat 508 00:49:24,039 --> 00:49:30,280 a way from the inside. All I had to do was cry and cry 509 00:49:30,519 --> 00:50:05,159 and cry and cry. How love? The building is just a place in 510 00:50:05,159 --> 00:50:13,920 the memory's high It's not a home without you on the inside. We need 511 00:50:14,079 --> 00:50:20,800 to smash down those ceilings, seek out our opportunities, open up that along 512 00:50:20,920 --> 00:50:25,360 some later, just like we've done movie is before. Remember we may lose 513 00:50:25,400 --> 00:50:32,000 a battle, but we'll always win the war. Some days we are we 514 00:50:32,159 --> 00:50:38,920 need to cry. Some days we are we need to cry out the life. 515 00:50:40,639 --> 00:50:46,599 Some days we are needed to cry up at me from me inside. 516 00:50:47,400 --> 00:50:53,679 Some days we all want to cry, cry, cry, cry, out 517 00:50:54,159 --> 00:51:06,440 alone crad re captivating when you look at you like that, intoxicating with a 518 00:51:06,519 --> 00:51:10,559 texta to pie reality manipulating with a hint. If you sweeten mass a little 519 00:51:10,639 --> 00:51:38,719 cinnam then electrifies show. But take accelerating when you're touching me like that. 520 00:51:39,559 --> 00:51:45,840 Celebrated for the other green sweety eating when you've been for the weak mass. 521 00:51:45,239 --> 00:52:15,199 A little sinner is a Pucketts. Lads to you like that happened? 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