1 00:00:00,040 --> 00:00:05,440 We've got a great band here with you. So I'm going to introduce Michael 2 00:00:05,480 --> 00:00:08,560 help Lee Pierce. How are you, sir? You said my name right, 3 00:00:08,560 --> 00:00:10,800 You've already warned my heart, my friend. Well, you and I 4 00:00:10,839 --> 00:00:13,919 were in a band together, so you know, I kind of I probably 5 00:00:13,919 --> 00:00:17,039 should get your name right. I appreciate that. I'm really happy to be 6 00:00:17,079 --> 00:00:19,640 here. This is a long overdo It's been too long since we've had fun 7 00:00:19,719 --> 00:00:21,960 together. Yeah, it's great to see you man, great to see you, 8 00:00:21,960 --> 00:00:25,600 and I love I love the song there, thank you that killing time 9 00:00:25,600 --> 00:00:29,239 and your new project jam tomorrow. And what I would like you to do, 10 00:00:29,280 --> 00:00:31,760 sir, if you wouldn't mind, is I'll let you introduce these other 11 00:00:31,800 --> 00:00:34,880 two gentlemen who I'm meeting for the first time today. I'd be happy to 12 00:00:34,920 --> 00:00:38,640 do so. So joining me on my far left is the amazing Mark Vadney 13 00:00:38,840 --> 00:00:44,119 on six string acoustic and occasionally electric. He's he and I started the band 14 00:00:44,200 --> 00:00:48,560 kind of ass a COVID project. Really just try to not go crazy and 15 00:00:48,600 --> 00:00:51,679 sit six feet apart and still make some music with people and deal with the 16 00:00:51,719 --> 00:00:56,640 madness that was happening three or four years ago, and not too long thereafter, 17 00:00:57,000 --> 00:01:00,479 we start playing gigs, and we very shortly thereafter drafted Gary Smith, 18 00:01:00,479 --> 00:01:06,000 who's sitting in the middle. Gary Handle's bass and eight string, sometimes twelve 19 00:01:06,040 --> 00:01:08,680 string. Mark sometimes is on twelve string as well. I'm only ever on 20 00:01:10,319 --> 00:01:14,159 the G string. It's about all I'm good at. Play in its alas, 21 00:01:14,680 --> 00:01:17,680 always at a tune, always at the G string. I feel like 22 00:01:17,719 --> 00:01:21,159 I've heard that joke before. I'm sure, sure, I'm sure I'll use 23 00:01:22,120 --> 00:01:26,159 Yeah. So we started playing together, I don't know, probably two years 24 00:01:26,159 --> 00:01:30,040 ago, doing mostly what I would call hokey singer songwriter covers. Started expending 25 00:01:30,040 --> 00:01:33,120 that a little bit more. We're working on originals, and we're now at 26 00:01:33,120 --> 00:01:36,640 a point where we have I think twenty five originals. Wow, ready to 27 00:01:36,680 --> 00:01:38,920 go. We just recorded the first one, which you guys were kind enough 28 00:01:38,920 --> 00:01:42,560 to debut for us, Yes the world Radio. Yeah, great stuff, 29 00:01:42,599 --> 00:01:46,079 and we've got more to record behind that. We've got a really cool engineer 30 00:01:46,079 --> 00:01:48,879 that we're working with, and we're we're really happy to make some more of 31 00:01:48,920 --> 00:01:53,200 that happen. Outstanding. By the way. Mike from Queen's City Cabinetry Mike 32 00:01:53,239 --> 00:01:56,439 Pelopidas in the Facebook live chat and says good to see Michael. Yeah, 33 00:01:56,560 --> 00:01:57,439 good to see you in my friend. He was an old customer, old 34 00:01:57,439 --> 00:02:00,040 friend of mine. Yeah, yeah, well, listen, you guys want 35 00:02:00,079 --> 00:02:04,439 to you want to play, play something for us, and I'll ride the 36 00:02:04,480 --> 00:02:07,639 faders a little bit. We're not we can't really no way to do an 37 00:02:07,639 --> 00:02:10,879 off air or sound check, so to speak. But I'll do my best 38 00:02:10,919 --> 00:02:14,800 with the missing But yeah, what do you want to play? Yeah, 39 00:02:14,800 --> 00:02:15,919 so we've got a bunch of originals lined up for you. We tried to 40 00:02:16,039 --> 00:02:20,840 kind of pick a smattering both stylistically and subject matter. Yeah. I'm a 41 00:02:20,840 --> 00:02:24,639 little overly intellectual in my lyrics self, admittedly, and these guys are amazing 42 00:02:24,719 --> 00:02:29,120 musicians. This is a song about the triumphs of the Tarot deck. So 43 00:02:29,159 --> 00:02:32,960 this is sort of a psychedelic visual journey through the twenty one triumphs in the 44 00:02:32,960 --> 00:02:38,120 place of the fool taking the journey itself, and how that's kind of all 45 00:02:38,120 --> 00:03:08,680 of us. So this one's called twenty two, all right, traveling through 46 00:03:08,719 --> 00:03:19,719 the world, pass popes and potentates as princesses and love look my way and 47 00:03:19,840 --> 00:03:25,800 waiting, But the one with the way to the world is in my chariot, 48 00:03:28,919 --> 00:03:39,360 and that mugenin might become yet Just the dou who's springing half the edges, 49 00:03:40,960 --> 00:03:46,960 got my bag, I got my dog, got stepping off of legend. 50 00:03:47,680 --> 00:03:54,639 As the carter tells I seek, I always bring the rules, care 51 00:03:54,759 --> 00:04:00,599 free, don't care for me. I half played the food. I have 52 00:04:00,840 --> 00:04:15,919 to play the fool. I need to have the strength to hold a lion 53 00:04:15,120 --> 00:04:25,680 tights and stand alone in darkness, holding out the light as the wheel of 54 00:04:26,000 --> 00:04:32,920 fortune spins his justice on my inside, as they hang me upside down, 55 00:04:33,160 --> 00:04:43,000 my hands behind me, tire jun the food who springing at the edges, 56 00:04:44,680 --> 00:04:50,680 got my bag, I got my dog. I'm stepping off legend as the 57 00:04:50,800 --> 00:04:59,240 deck bands down. I see how fit is cruel, care free, don't 58 00:04:59,360 --> 00:05:14,480 care them me. I have to play the fool. After pabo oh and 59 00:05:14,959 --> 00:05:24,319 I smelt death unmistakable. A man upon the warps to one glass empty, 60 00:05:24,600 --> 00:05:30,079 one glass fool as the devil binds me in chains, as I can see 61 00:05:30,279 --> 00:05:38,839 the towels fall, but I avoid the lighting somehow, always give it all. 62 00:05:41,199 --> 00:05:47,199 Just the fool who's springing at the edges, got my bag, I 63 00:05:47,360 --> 00:05:56,040 got my dog. I'm stepping off of ledgd as the cart rained down, 64 00:05:56,360 --> 00:06:02,720 I'm drowning in the pool. Care every don't care for me. I have 65 00:06:03,040 --> 00:06:16,680 to say the fool, have to pray the fool. A woman like a 66 00:06:16,759 --> 00:06:27,639 star has pictures in her hand as the moon shines over all the creatures, 67 00:06:27,480 --> 00:06:33,800 the sea and land. But the sun is rising and the Egel trumpets judgment 68 00:06:34,040 --> 00:06:44,279 time. The world is out if we can only fly, just the fool 69 00:06:45,319 --> 00:06:50,680 who's bringing at the edges. Got my bag, I got my dog. 70 00:06:50,920 --> 00:07:00,120 I'm stepping up of legend as the House of Cards burns down us see us 71 00:07:02,959 --> 00:07:18,920 Jafrey, don't I have the fool? Have the fool? Twenty two, 72 00:07:21,279 --> 00:07:35,120 twenty two two? Very nice, Thank you, very nice. If you're 73 00:07:35,160 --> 00:07:40,399 just joining us, Jam Tomorrow is here with us live in studio. Mike 74 00:07:40,439 --> 00:07:44,160 from Queen City Cabinetry says, very good. Yes, thanks brother, appreciate 75 00:07:44,240 --> 00:07:46,839 that. Where does the name come from? By the way, Jam Tomorrow, 76 00:07:47,480 --> 00:07:50,040 so as you know from us, haven't made so. Matt and I 77 00:07:50,120 --> 00:07:54,199 were in a band together thirteen fourteen, fifteen years ago. We were in 78 00:07:54,199 --> 00:07:57,199 a band called Chemical Distance, which you can still find some stuff if you 79 00:07:57,360 --> 00:08:00,839 dig not too deep under the I think I think twelve years are right. 80 00:08:01,000 --> 00:08:05,639 I think the first album drop maybe ten eleven. Yeah, somewhere in that 81 00:08:05,720 --> 00:08:13,879 time, COVID caused a lot of time to start. Yeah, So I'm 82 00:08:13,879 --> 00:08:15,959 a nerd, and I'm a book nerd, and I'm a big Lewis Carroll 83 00:08:16,040 --> 00:08:18,079 fan. And Lewis Carroll actually had a phrase in Through the Looking Glass that 84 00:08:18,160 --> 00:08:22,800 was said by the Red Queen where they're at a tea party analysis gonna have 85 00:08:22,800 --> 00:08:26,079 some jam, and the Queen says, jam tomorrow, jam yesterday, but 86 00:08:26,240 --> 00:08:30,079 never jam today. And it's sort of a play on the Latin for to 87 00:08:30,120 --> 00:08:35,240 be I am okay because I is ja if you remember from Indiana Jones when 88 00:08:35,240 --> 00:08:37,759 you're stepping on the stones and we were having trouble Mark and I kind of 89 00:08:37,799 --> 00:08:41,279 lining up our rehearsal dates. At the beginning, it was always like, 90 00:08:41,320 --> 00:08:43,519 okay, we jam today, now, maybe we can jam tomorrow, and 91 00:08:43,559 --> 00:08:46,960 so then it sort of began jam tomorrow. So it's sort of multifaceted, 92 00:08:46,000 --> 00:08:50,000 but at its root, it's sort of that. Yeah, it's always a 93 00:08:50,000 --> 00:08:52,799 play on Lewis Carroll, and we've got we've got a bunch of references to 94 00:08:52,840 --> 00:08:54,440 that in our music, for sure, gotcha, gotcha. By the way 95 00:08:54,480 --> 00:08:58,600 I've played Red Queen's Race by chemical distance goes way back. Yeah, Yeah, 96 00:08:58,639 --> 00:09:03,159 I tell, I tell everybody that's our hit. Yeah, it would 97 00:09:03,200 --> 00:09:07,360 have been that. So when when did this project? So it started out 98 00:09:07,399 --> 00:09:09,440 with you and Mark, right, the two of you, and yeah, 99 00:09:09,519 --> 00:09:13,039 I mean Mark and I had done actually a project with Auto if you remember 100 00:09:13,039 --> 00:09:16,840 the engineer that we did our first album. We did a Christmas album and 101 00:09:16,039 --> 00:09:20,639 okay, they were looking for a Christmas song, hokey Christmas song, so 102 00:09:20,679 --> 00:09:24,919 Otto and Mark and I actually did Christmas for Cowboys from a John Denver Christmas 103 00:09:24,960 --> 00:09:28,639 album that he actually covered from somebody I had never heard of once again, 104 00:09:28,759 --> 00:09:33,039 probably like twelve ash years ago, and then just reconnected realizing how close we 105 00:09:33,080 --> 00:09:37,159 lived, and started playing and then just through sort of mutual acquaintances, Gary 106 00:09:37,240 --> 00:09:39,879 kind of got sucked into the mix and it's it's sort of like there was 107 00:09:39,919 --> 00:09:43,159 no looking back from that point. Yeah, I'm really fortunate to have these 108 00:09:43,200 --> 00:09:46,960 amazing dudes to play with. Yeah, no doubt, no doubt. Now, 109 00:09:46,159 --> 00:09:50,600 So Gary, how long have you been in the band? Pretty much 110 00:09:50,679 --> 00:09:52,759 for a year and a half, probably a year and a half, two 111 00:09:52,840 --> 00:09:54,639 years Yeah, okay, I think we played our first gig together about two 112 00:09:54,720 --> 00:09:58,480 years ago. We had played together at a mutual friend's house and so we 113 00:09:58,519 --> 00:10:03,720 had had some experience playing together, but I didn't officially probably join until about 114 00:10:03,759 --> 00:10:07,360 a year and a half two years ago, sometime in that range. Gotcha, 115 00:10:07,480 --> 00:10:09,200 gotcha? Do you guys play out a lot? Are you playing a 116 00:10:09,240 --> 00:10:13,320 lot of shows or yeah, we did four gigs in July. I think 117 00:10:13,320 --> 00:10:16,159 we're kind of shooting for like two a month because we all have somewhat demanding 118 00:10:16,200 --> 00:10:20,039 jobs, pretty demanding jobs. You know, we're all doing fifty hours a 119 00:10:20,080 --> 00:10:22,960 week somewhere forty five hours a week somewhere in that neighborhood. So we don't 120 00:10:22,000 --> 00:10:24,799 want to take it too heavy. But we're really fortunate that Manchester is such 121 00:10:24,840 --> 00:10:28,279 a great music town, though we don't have to travel too smar can I 122 00:10:28,279 --> 00:10:30,919 mention a couple of venues where we play. Is that acceptable? So, 123 00:10:30,960 --> 00:10:31,919 like, we've played at Strange Brew all the time. We're playing there on 124 00:10:33,000 --> 00:10:35,960 the twenty fourth. Mitch is super kind to us and gives us a lot 125 00:10:35,000 --> 00:10:37,879 of really great slots. We play at Granite Tapas all the time, and 126 00:10:37,919 --> 00:10:41,320 Hooks It we play. We play at Hop Not. It's been a little 127 00:10:41,320 --> 00:10:43,559 while, but but Kenny's brought us on to play four or five times. 128 00:10:43,600 --> 00:10:48,200 So we really like Mark and I both live less than a mile from here. 129 00:10:48,679 --> 00:10:50,919 We don't care if Gary us to dry. Frankly, so right, 130 00:10:50,240 --> 00:10:54,679 it's a bass player, so we keep it easier. We often just like 131 00:10:54,840 --> 00:10:58,639 shoot for gigs like somewhere between Conquered and Manchester, so that at least one 132 00:10:58,639 --> 00:11:01,440 of us doesn't have to travel so far right right, which is a nice 133 00:11:01,440 --> 00:11:03,200 place to be. It's nice to be in such a you know, I 134 00:11:03,200 --> 00:11:05,519 remember a decade ago when we were trying to find places to play. No 135 00:11:05,519 --> 00:11:09,120 one wanted to hire you to play Originals if you were going to like a 136 00:11:09,159 --> 00:11:11,919 party band that could play all covers that people knew. You can get a 137 00:11:11,919 --> 00:11:13,759 good gig playing on a deck somewhere. But of course, like we play 138 00:11:13,759 --> 00:11:16,559 a third Originals and all of our venues are on board with that. They're 139 00:11:16,559 --> 00:11:20,039 okay, we play and most of our covers are obscure. We throw in 140 00:11:20,120 --> 00:11:22,200 like a third cover. Is that you're going to know the words too? 141 00:11:22,200 --> 00:11:24,200 When I've heard but a lot of our covers you might as well be Originals 142 00:11:24,240 --> 00:11:28,720 because they're like deep cuts and no one right right, yeah, Now, 143 00:11:28,759 --> 00:11:31,159 when you play out is it is it this configuration or do you ever pull 144 00:11:31,200 --> 00:11:35,759 out electric guitars? Or it's always Yeah. I mean most of the time 145 00:11:35,080 --> 00:11:39,240 we'll have an electric and an acoustic with us, and you know we have 146 00:11:39,360 --> 00:11:43,600 we'll have some different configuration. I usually have something h string and Mark usually 147 00:11:43,600 --> 00:11:48,559 has something cool sounding. Yeah. I was suffering from ten to nineties issues 148 00:11:48,600 --> 00:11:52,840 for a while, so playing this for three hours was killing me. So 149 00:11:52,879 --> 00:11:56,639 I tried to incorporate electric, but I couldn't find a pedal or a sound 150 00:11:56,639 --> 00:12:00,799 that made the electric quite sound acoustic enough. So I found hybrid guitar that 151 00:12:01,120 --> 00:12:03,399 is the best of both worlds. So yeah, you know I can do 152 00:12:03,440 --> 00:12:05,960 that, but I needed this today because I knew we weren't plugged in right 153 00:12:07,039 --> 00:12:09,840 right? Yeah, yeah, excellent. You guys want to play another song? 154 00:12:09,159 --> 00:12:13,039 Yeah, so this next one is uh, this one's called motor Lodge. 155 00:12:15,039 --> 00:12:18,360 I've been writing for thirty years in various capacities, like really since college 156 00:12:18,360 --> 00:12:22,320 at least ninety two, but longer than that. This is one of my 157 00:12:22,360 --> 00:12:24,879 favorite things that I've ever written, and I feel like I didn't actually write 158 00:12:24,919 --> 00:12:26,559 it. I feel like I really held the pen and I kind of channeled 159 00:12:26,559 --> 00:12:28,240 it, and I don't know where it came from. I can sort of 160 00:12:28,279 --> 00:12:31,799 see this person and that sounds hokey, and I know there's people probably shaking 161 00:12:31,840 --> 00:12:35,879 their head as I heard this. I might shake my head too, but 162 00:12:35,960 --> 00:12:39,919 I really I felt more like a conduit than a creator in this piece. 163 00:12:39,840 --> 00:12:43,480 So this is called motor Lodge, okay. And I will say from a 164 00:12:43,559 --> 00:12:46,000 musicians point, we're very naked today because this is a song that I have 165 00:12:46,039 --> 00:12:50,320 a very ethereal reverb, caf cavernous sound because to create an effect. So 166 00:12:50,320 --> 00:12:54,399 we're very dry today. So yeah, yeah, it's gonna be way better 167 00:12:54,399 --> 00:12:58,759 live. So it comes to this. Yeah, alright, ladies and gentlemen, 168 00:13:00,240 --> 00:13:31,679 jam tomorrow tin these wooden instruments. Sometimes I think you don't even hear 169 00:13:31,919 --> 00:13:41,000 me. Sometimes I think I don't want you to hear me. He Sometimes 170 00:13:41,159 --> 00:13:48,159 I think I'm listening your utimes, but that sometimes I don't miss you so 171 00:13:48,480 --> 00:13:56,480 much. Sometimes I find out which foil smile dance. Sometimes as I stand 172 00:13:56,519 --> 00:14:03,759 out of the rain with eating one hand, sometimes I wonder where you went 173 00:14:03,960 --> 00:14:15,399 to dance. Sometimes I question my tex. It jumps the question every single 174 00:14:15,480 --> 00:14:24,159 time, never answers, never really danty or it jumps the question. What 175 00:14:24,279 --> 00:14:31,799 do you ask if you do you believe you going through? Go ahead through 176 00:14:43,360 --> 00:14:50,519 Ofttimes I don't remember the moment that past. Ofttimes I can't distinguish the first 177 00:14:50,600 --> 00:14:58,279 from the line. Ofttimes I feel I've walked through these footsteps before. Enough 178 00:14:58,440 --> 00:15:05,000 times, as I see my handprints on the hug on side, I find 179 00:15:05,120 --> 00:15:15,039 I reach for your hand, but then aping size and disappus again. Up 180 00:15:15,039 --> 00:15:22,960 the times I want to do what happened? Up time? What med me? 181 00:15:24,879 --> 00:15:33,200 It jumps questern every single time, never read, never anything? He 182 00:15:33,480 --> 00:15:41,799 would It jumps question? What do you ask of you? Feeling blood? 183 00:15:41,519 --> 00:16:11,039 Thinking it is thinking? Most times I fear I've lost myself in the past. 184 00:16:11,639 --> 00:16:17,600 Most times I fear I've let the wrong moment. Laugh most time, 185 00:16:17,840 --> 00:16:23,600 ladies in me in the mealad on, And most times I can't predict my 186 00:16:25,120 --> 00:16:33,360 fault. Most times I don't know what we're round in. Most times I 187 00:16:33,720 --> 00:16:41,159 can't believe singing this song. Most time I don't know how this speling. 188 00:16:41,639 --> 00:16:48,840 The most times I was good, What's round? Let's round? It comes 189 00:16:48,879 --> 00:16:56,799 to Western every single time, never answered, never anything, de most lime, 190 00:16:57,559 --> 00:17:33,880 it comes to Western? What did you ask? Wow? Fantastic, 191 00:17:33,440 --> 00:17:36,920 thank you, yeah, yeah, thanks very much. If you're just joining 192 00:17:37,039 --> 00:17:40,599 us, we have the members of Jam Tomorrow here in studio with us. 193 00:17:40,640 --> 00:17:44,640 We have Mike and Mark and Gary and Jenny is here at the newscask and 194 00:17:45,319 --> 00:17:48,400 we're really enjoying this. Do you, Mike, do you write all the 195 00:17:48,480 --> 00:17:51,880 lyrics? I do. Yeah, it's uh, we are a pretty clear 196 00:17:51,920 --> 00:17:55,759 division of labor. Usually Mark and I kind of bounced stuff back and forth. 197 00:17:55,839 --> 00:17:59,440 I have a very very solitary writing process. I'm kind of selfish. 198 00:17:59,799 --> 00:18:02,839 I always found, even when I was doing Chemical distance, every project I've 199 00:18:02,880 --> 00:18:04,640 had, I usually like let the creative people that make the music make the 200 00:18:04,720 --> 00:18:07,240 music, and then I take the music away to my lair and I put 201 00:18:07,400 --> 00:18:10,880 lyrics to it, and then we come back and we share, we bounce 202 00:18:10,960 --> 00:18:11,519 back. I think it's kind of like how Rush writes. You know, 203 00:18:11,599 --> 00:18:15,799 we're like one part does one thing, and then it's division of labor and 204 00:18:15,839 --> 00:18:18,359 they sort of separate it out. Now that we've got two musicians, it's 205 00:18:18,400 --> 00:18:22,400 even easier because literally we always rehearse at my house because I feed us and 206 00:18:22,480 --> 00:18:23,720 we have space. So it's pretty easy for these guys to you just like, 207 00:18:23,759 --> 00:18:26,200 all right, we can have with your house good And so I'll literally 208 00:18:26,240 --> 00:18:29,359 be like I'm gonna go get some more beers from the kitchen and I'll just 209 00:18:29,400 --> 00:18:30,880 put my phone on the table where these guys are hanging out and just hit 210 00:18:30,960 --> 00:18:36,200 record on the record app, and freaking magic just happens. And I come 211 00:18:36,240 --> 00:18:37,440 back and I'm like, oh, all right, well there's our next song. 212 00:18:37,720 --> 00:18:40,960 Yeah, and then we literally just taken I say, okay, I 213 00:18:41,039 --> 00:18:42,759 feel like this is the opener and this is the verse, and this is 214 00:18:42,799 --> 00:18:45,880 the chorus, and we can sequence it like this and what do you guys 215 00:18:45,920 --> 00:18:47,759 think about that? And then we kind of bounce it back and forth and 216 00:18:47,759 --> 00:18:49,599 then I write the lyrics, we come back, Mark find some harmonies for 217 00:18:49,720 --> 00:18:52,039 it, and then it just sort of all comes together. So it's very 218 00:18:52,079 --> 00:18:56,839 collaborative, but at the same time it's it's sort of iterative. And Gary's 219 00:18:56,880 --> 00:19:00,559 been great about like taking songs over and him and being why don't we do 220 00:19:00,640 --> 00:19:03,240 this for an intro? Yeah? How do you feel about this middle break? 221 00:19:03,400 --> 00:19:06,720 Putting in bridges? And you know, because listen to most of our 222 00:19:06,839 --> 00:19:08,440 music, not a lot of bridges, a lot of verses, a lot 223 00:19:08,480 --> 00:19:12,119 of courses, not a lot of bridges. Terry is the facilitator of those 224 00:19:12,319 --> 00:19:15,759 those things, helping us break being formulated because I'm kind of a singer songwriter 225 00:19:15,920 --> 00:19:18,640 verse chorus, verse chorus, bridge, verse chorus and a guy and sure, 226 00:19:18,720 --> 00:19:22,000 and I think Mark and I gent we're writing in four four, writing 227 00:19:22,079 --> 00:19:26,319 within a sort of you know, a bpm range that's sort of somewhat predictable, 228 00:19:26,400 --> 00:19:32,039 and Gary absolutely helps us sort of break those uh seventies eighties blues rockers. 229 00:19:32,079 --> 00:19:33,599 So yeah, yeah, I do think for melaic too much, but 230 00:19:34,319 --> 00:19:37,799 yeah, it's natural. So's it's natural. I mean, you know, 231 00:19:37,839 --> 00:19:41,920 there is an established sort of format that we all fall into with it. 232 00:19:41,920 --> 00:19:44,640 It's but that's you know, it's there for a reason. That's what just 233 00:19:44,759 --> 00:19:48,039 sounds pleasing to us as humans, you know, and it's comfortable too. 234 00:19:48,119 --> 00:19:49,279 And I think for us it's like we don't want to fight with the mechanism. 235 00:19:49,680 --> 00:19:52,400 We really just want to get to the place where we want to be 236 00:19:52,480 --> 00:19:55,839 and do our thing and sometimes just falling into four four at one hundred and 237 00:19:55,920 --> 00:19:57,960 five bpm, you know, in a in a chord progression that we're sort 238 00:19:57,960 --> 00:20:00,880 of comfortable with, it's like, okay, well we can tell a story 239 00:20:00,920 --> 00:20:03,279 here, like we already know the terrain. It's it gives us that much 240 00:20:03,319 --> 00:20:07,480 more ease of action. Yeah, yeah, Like the first twelve or fifteen 241 00:20:07,559 --> 00:20:11,200 songs. We're like music I've just had tucked away since seventies and eighties. 242 00:20:11,279 --> 00:20:14,839 And then he's like, send me some idea. So I kept pulling out 243 00:20:14,880 --> 00:20:18,119 these things that were just a long time yeah, and he just kind of 244 00:20:18,240 --> 00:20:21,079 loomed the flowers, so to speak. Oh wow, yeah that's cool. 245 00:20:21,240 --> 00:20:22,759 Yeah. Yeah. I never throw away an idea, right because I can't 246 00:20:22,759 --> 00:20:26,920 write lyrics with the life of me really, and I'm not the guy to 247 00:20:26,960 --> 00:20:30,440 put out a melody. So I think we all we all sort of know 248 00:20:30,519 --> 00:20:33,599 our place and we're all really happy. Yeah. I hate to say staying 249 00:20:33,640 --> 00:20:34,880 in our lane, because it's not about like, hey, don't do my 250 00:20:36,000 --> 00:20:37,400 thing, more about like, you're really good at this, you do that 251 00:20:37,839 --> 00:20:41,200 right? Well, if it works, it works. Yeah. Yeah, 252 00:20:41,559 --> 00:20:45,119 he has want to play another song. I want. I'm dying to hear 253 00:20:45,119 --> 00:20:47,039 another one. Yeah, we got a bunch more so. This next one 254 00:20:47,119 --> 00:20:48,720 is actually the first song that we wrote. This is definitely a COVID song. 255 00:20:49,279 --> 00:20:52,279 Uh. It starts with the choruses that are starting with a verse, 256 00:20:52,359 --> 00:20:56,880 just because we felt like being unconventional. This one's called Falling into Place. 257 00:20:56,000 --> 00:21:03,119 This was definitely inspired by going to see Sean Mullin's outside of Tupelo Music Hall 258 00:21:03,400 --> 00:21:07,440 when yes, when COVID first started and they moved his show from inside of 259 00:21:07,480 --> 00:21:11,640 the concert to the outside of the culture. We're huge fans and if I 260 00:21:11,720 --> 00:21:14,839 can give a quick thirty second story, we actually went to see him up 261 00:21:14,960 --> 00:21:18,720 two hours north in Bethlehem, like a month ago. Mark and his wife 262 00:21:18,799 --> 00:21:21,000 drove home after the show. We were trying to get an autograph. Couldn't 263 00:21:21,000 --> 00:21:22,519 get anyone with theater to get us an autograph. My wife and I stayed 264 00:21:22,519 --> 00:21:26,839 at a local BMB wake up in the morning because the sun just streaming into 265 00:21:26,880 --> 00:21:29,359 our room, So like seven o'clock in the morning, we're showered, packed 266 00:21:29,480 --> 00:21:32,759 riddy out the door, which is really unconventional for us, especially after a 267 00:21:32,839 --> 00:21:34,680 late show. And it's a tiny little B ANDB with seven rooms, and 268 00:21:34,880 --> 00:21:37,279 I walk out into the hallway and there's this guy walking around with a paper 269 00:21:37,319 --> 00:21:41,240 cup of coffee, looking a little lost, and it's Sean Mullin, no 270 00:21:41,440 --> 00:21:44,319 kidding, and he's like I would say, after Paul Simon, and that's 271 00:21:44,359 --> 00:21:47,640 a tall order. He's my number two most inspirational favorite, wow in my 272 00:21:47,759 --> 00:21:49,279 heart songwriter, and he's right there. Oh my god, what are the 273 00:21:49,359 --> 00:21:52,200 odds? And I looked at him and I said, dude, you were 274 00:21:52,200 --> 00:21:53,960 amazing last night. He's got this beautiful baritone. He just goes, oh, 275 00:21:55,119 --> 00:21:56,559 thanks, you were there, and I'm like, yeah, that's why 276 00:21:56,599 --> 00:22:00,359 I'm here. He goes, oh, do you know where breakfast? And 277 00:22:00,359 --> 00:22:02,039 I said, yeah, it's in that room right there. If you just 278 00:22:02,079 --> 00:22:03,079 sit down, they said, a waitress will come over. I said, 279 00:22:03,680 --> 00:22:07,519 Sean, would you like some company? He goes, yeah, that'd be 280 00:22:07,640 --> 00:22:10,160 really nice. And my wife and I sat down with Sean Mullins and I 281 00:22:10,200 --> 00:22:12,279 breakfast with him for an hour and I didn't ask him like creative questions or 282 00:22:12,359 --> 00:22:15,000 music questions. We talked about life on the road because I've been on the 283 00:22:15,079 --> 00:22:18,559 road for sales twenty years, so I didn't fanboy on them until the very 284 00:22:18,640 --> 00:22:21,680 end. And then I got pictures and got like autographs from Mark and I 285 00:22:22,480 --> 00:22:25,160 were Hugh Sean Mullin fans. And I feel like this song was very much 286 00:22:25,200 --> 00:22:27,400 his zeitgeist. Was still sort of like pushing us to write our first song 287 00:22:27,480 --> 00:22:30,279 when we when we came out with this, Oh that's so cool. So 288 00:22:30,440 --> 00:23:18,279 this one's called Falling into Place, and I feel like things are falling against 289 00:23:18,519 --> 00:23:26,680 play, and I feel like it's the end of the Red Queen's Rains, 290 00:23:26,839 --> 00:23:36,599 and I feel like the star are gonna change because I feel like this was 291 00:23:36,759 --> 00:23:49,119 all just rearranged as we moved from hugs and handshake. We must remember how 292 00:23:49,279 --> 00:24:03,039 our souls as we moved from confidence to confidence, we must remember how our 293 00:24:03,279 --> 00:24:14,480 souls pay. And I feel like things are falling into places, and I 294 00:24:15,359 --> 00:24:22,440 feel like it's me after the Red Queen's Race, And I feel like the 295 00:24:22,640 --> 00:24:37,200 star for gotta shame because I feel like small rearranged and people take too much 296 00:24:37,400 --> 00:24:49,400 pride in the way they picked their side ha ha ha split up into them 297 00:24:51,480 --> 00:25:03,319 and us a sign seating on the bars on the books. But I feel 298 00:25:03,680 --> 00:25:11,920 like things are falling into played and I feel like it's the end of the 299 00:25:11,039 --> 00:25:18,519 Red Queen's right and I feel like the stars, like the stars gotta shape, 300 00:25:19,000 --> 00:25:48,359 because I feel like this was all reading. As our lives getting most 301 00:25:48,559 --> 00:26:03,000 separated here, well we wish they weren't so as things get more complicated, 302 00:26:07,920 --> 00:26:15,799 well we wish we could just know, just know. And I feel like 303 00:26:15,160 --> 00:26:23,279 things are falling against place and die me like it's the end of the Red 304 00:26:23,359 --> 00:26:33,240 Queen's Raging and I feel like a star We're gonna change because I feel like 305 00:26:33,440 --> 00:26:45,640 this was all frearing and I feel like things are falling agast place to die. 306 00:26:45,559 --> 00:26:52,640 Feel like it's the end of the Red Queen raging, and I feel 307 00:26:52,880 --> 00:27:00,279 like the stars, like the stars are gonna change because I feel like this 308 00:27:02,839 --> 00:27:26,519 prey. Oh that's my favorite so far. Yeah, that's my favorite. 309 00:27:26,599 --> 00:27:27,839 I love that. Thank you. I hope that's one of the ones you're 310 00:27:27,839 --> 00:27:33,160 recording eventually. We hope they all make it like these are definitely next thing 311 00:27:33,240 --> 00:27:36,039 Q. Yeah. Yeah, we got two more that we slated. If 312 00:27:36,039 --> 00:27:37,799 we have time for a third, we can break it. But everything that 313 00:27:37,839 --> 00:27:41,279 we're gonna hear today, yeah, every of your inter day. We'll definitely 314 00:27:41,359 --> 00:27:45,119 make it to the to the engineering booth in the next hopefully six months or 315 00:27:45,119 --> 00:27:47,440 so. Yeah, good good, our guys local. He's a professional. 316 00:27:47,480 --> 00:27:49,839 He's actually touring with Bad Fish right now, running their sound live. He's 317 00:27:49,880 --> 00:27:53,720 got a home set up. He's what's the name Barnwood studio, boards, 318 00:27:53,839 --> 00:27:59,200 boards, house production. Yeah, totally wrong. Yeah. Create. He 319 00:27:59,240 --> 00:28:02,799 does roots to create and he does that fit. Oh okay, very good, 320 00:28:02,960 --> 00:28:04,039 very good. By the way Garyet accrued to me, I don't think 321 00:28:04,079 --> 00:28:07,599 I've ever seen an eight string guitar in this room before. I think you're 322 00:28:07,640 --> 00:28:08,759 the first one to bring one in. I'm glad, I'm glad to break 323 00:28:08,799 --> 00:28:11,759 the seal. Yeah, yeah, you should see this electric has actually got 324 00:28:11,799 --> 00:28:15,759 frets. What do you call those frets that are just like so none of 325 00:28:15,799 --> 00:28:19,039 them are straight. They literally each fret shifts at each string and it's like 326 00:28:19,519 --> 00:28:23,519 an asymmetrical lightning bowl. It's crazy, but it's got this beautiful true tone. 327 00:28:23,839 --> 00:28:29,960 Wow, this is the Bartelex h string nylon. So it's a yeah, 328 00:28:30,000 --> 00:28:32,359 and it's fan fred it's it's it's fun. It was the first thing 329 00:28:32,400 --> 00:28:33,960 that got me into h strings, my old guitar teacher, No kidding, 330 00:28:34,079 --> 00:28:40,160 Yeah, it's yeah, it's awesome. It's have you met other a lot 331 00:28:40,240 --> 00:28:42,880 of other people who play an eighth string? It's not really. I mean 332 00:28:44,039 --> 00:28:45,920 some like people in the crazy metal world, they like to go eh string 333 00:28:47,119 --> 00:28:49,160 Yeah, And I mean I have a jazz background, so there's some like 334 00:28:49,319 --> 00:28:53,480 jazz guitarists who like to do like walking bass lines. Yeah, so that's 335 00:28:53,559 --> 00:28:56,000 what why I got it from my teacher. He has a host of eight 336 00:28:56,680 --> 00:29:00,839 and weird amount of strings. So yeah, yeah, and you do you 337 00:29:00,920 --> 00:29:04,160 fingerpick everything. It's a mixture. Like that song, I was doing a 338 00:29:04,160 --> 00:29:07,720 lot of finger picking some of the other songs, and the next song, 339 00:29:07,839 --> 00:29:10,920 I think I do a lot of pickings. So it's a it's a mixture 340 00:29:10,920 --> 00:29:15,079 of both. But I've played nylons a lot of my life, so yeah, 341 00:29:15,200 --> 00:29:18,519 it's even though this is the widest neck you've ever seen, and it's 342 00:29:18,519 --> 00:29:25,440 really not too bad. It's like a meme smart do you always pick or 343 00:29:25,519 --> 00:29:27,240 do you have a fingerpick? I do mixture of both. I do have 344 00:29:27,359 --> 00:29:33,319 some of our originals that are all fingerpicking. Okay, I mostly uh facilitate 345 00:29:33,359 --> 00:29:38,079 the rhythmic portion of what we do. Yeah, gives Gary freedom to fill 346 00:29:38,119 --> 00:29:44,680 in all the holes with the taste. Yeah, yeah, absolutely absolutely so 347 00:29:44,920 --> 00:29:47,559 mostly yeah rumming. Okay, all right, Yeah, you guys want to 348 00:29:47,599 --> 00:29:49,400 play another? Yeah? Table five? What is that? Table five? 349 00:29:49,559 --> 00:29:55,079 Oh? All right? So this is uh mark another reason these are amazing 350 00:29:55,160 --> 00:29:57,640 humans. I cannot stress enough. This is the project that I've been waiting 351 00:29:57,680 --> 00:30:00,240 on my whole life. And I'm glad I've done every project I've done, 352 00:30:00,240 --> 00:30:03,839 but this is the one that I've really been waiting for. These guys also 353 00:30:03,920 --> 00:30:07,640 invite me to shows, to see people that broaden my musical horizons, opened 354 00:30:07,680 --> 00:30:11,279 my mind up. And Mark said, hey, let's go see Chris. 355 00:30:11,319 --> 00:30:14,160 Til we saw him in Portsmouth. Nobody was there. It was really sad. 356 00:30:14,200 --> 00:30:15,920 It was like a quarter of the theater was full. This guy was 357 00:30:15,000 --> 00:30:18,759 amazing and he made me start thinking about Leonard Cohen again, who I really 358 00:30:18,799 --> 00:30:22,000 hadn't thought about seriously since like ninety five six seven when I was in college. 359 00:30:22,079 --> 00:30:25,920 And it made me start thinking about Leonard Cohen. So somehow that turned 360 00:30:25,960 --> 00:30:29,079 into sort of a blue grassy song. So this is beautiful Loser, which 361 00:30:29,079 --> 00:30:33,359 is our compute to Leonard Cohen. Chris plays in Nickel Creeks. Oh okay, 362 00:30:33,400 --> 00:30:36,200 I was gonna say, I know, I know the name Helen and 363 00:30:36,240 --> 00:30:40,440 mandolin. Yeah, videos super obscure, but an amazing player, great stage 364 00:30:40,480 --> 00:30:42,640 presents, great performer, all by himself. One instrument, two Mike's one 365 00:30:42,759 --> 00:30:45,799 for the instrument, one for him, no effects, just like on stage, 366 00:30:45,920 --> 00:30:48,400 just making it was the last time you saw a guy with a mandolin. 367 00:30:48,559 --> 00:30:55,119 Just capture Hill where in Portsmouth? Was he that old the old theater 368 00:30:55,240 --> 00:30:57,119 that they just redid with the nice marquis at the top, kind of took 369 00:30:57,200 --> 00:31:00,240 off the main Street. Yeah, sort of Gilded era. Kind of reminds 370 00:31:00,240 --> 00:31:03,519 me a miniature version of the Orpheum. Oh, I can picture it. 371 00:31:03,640 --> 00:31:06,359 Yeah, it looked like it was late eighteen hundreds. I can't remember the 372 00:31:06,440 --> 00:31:08,359 name, but it was. It was redone and beautiful. Yeah, great 373 00:31:08,400 --> 00:31:11,680 show. Yeah, very cool, very cool. This is a mix of 374 00:31:11,799 --> 00:31:14,920 Leonard Cohen and blue grass. Yeah, let's called beautiful user All right, 375 00:31:15,000 --> 00:31:41,440 jam tomorrow there with us in the studio, A big hole in the fabric 376 00:31:41,559 --> 00:31:47,400 of space and time. Like I had a dollar and I needed a time. 377 00:31:48,359 --> 00:31:56,279 A bansful bits of the missus Sammy from the Minnesota Highlights to the New 378 00:31:56,359 --> 00:32:02,559 Orleans Socian. She grips me. And I don't know what happened to me 379 00:32:05,160 --> 00:32:13,400 between mealing light and living free, keep walking into Horse where I think I 380 00:32:13,559 --> 00:32:27,319 might be. God is a lie, that magic is afoot. Somethings just 381 00:32:27,680 --> 00:32:37,200 won't stay where their foots. Reinvention tainted by previous intention won't save us from 382 00:32:37,279 --> 00:32:45,480 those things we just can't mention. And I don't know what happened to me 383 00:32:46,119 --> 00:32:53,640 between me and light man, living free, keep walking too Horse where I 384 00:32:54,160 --> 00:33:23,319 think I might be, think I might be to the bread, And I 385 00:33:23,519 --> 00:33:34,640 don't know what happened to me between me and life, living free, keep 386 00:33:34,720 --> 00:33:46,240 walking thought where I became me every time we pull back the curtain me to 387 00:33:46,359 --> 00:33:52,839 find another curtain, but my mind is weary and my back is hurting. 388 00:33:54,440 --> 00:34:01,119 The only thing I've ever known for searching. It's behind every curtain, there's 389 00:34:01,119 --> 00:34:08,480 another curtain and another curtain, And I don't know what happens to me. 390 00:34:10,199 --> 00:34:19,800 Dreen mealing life, living free, keep walking thors where I think I might 391 00:34:20,039 --> 00:34:35,599 be And I don't know what happens to me dream mealing life and living free, 392 00:34:37,159 --> 00:34:40,920 keep walking thoughs where I think I might be. I think I might 393 00:34:42,119 --> 00:34:52,280 be. I think I might dream what happens to me? Tween me, 394 00:34:52,679 --> 00:35:22,800 life, live every keep walking thors where I Yeah. Nice, We just 395 00:35:22,960 --> 00:35:24,199 that's a new ending for us. We just just worked on that our last 396 00:35:24,239 --> 00:35:27,480 we heard yeah, the whole a capella piece and then switching out, So 397 00:35:27,559 --> 00:35:30,320 that was a that was a thank you, That was that was our first 398 00:35:30,360 --> 00:35:31,920 time I think we've ever done that live. Yeah, I was a surprise 399 00:35:32,000 --> 00:35:35,960 here and the two of you singing together because you haven't done Anyboddy, They'll 400 00:35:35,960 --> 00:35:37,519 expect it all the time. Mark Hartant is on like twenty five percent of 401 00:35:37,559 --> 00:35:40,360 our songs, but we haven't developed a lot for our originals yet. Yeah. 402 00:35:40,440 --> 00:35:43,800 No, that sounded really good though, thank you, really good, 403 00:35:43,920 --> 00:35:47,039 absolutely, and it's funny too Gary During that song, that was when I 404 00:35:47,199 --> 00:35:51,760 really like watching you. That's when I really got it. As far as 405 00:35:51,800 --> 00:35:53,360 he ate string, it was like, oh, I get it, you 406 00:35:53,440 --> 00:35:57,199 know, because you're you're playing guitar and you're playing bass at the same time. 407 00:35:57,280 --> 00:36:00,400 Effectively, it was like hate just switches modalities like yeah, yeah, 408 00:36:00,599 --> 00:36:01,639 which you know, which you're done on the other side. But with that 409 00:36:01,800 --> 00:36:06,000 song, it was like, Oh, I get it, Yeah, I 410 00:36:06,079 --> 00:36:08,400 really get it. Yeah. It transfers even more on electric, you know, 411 00:36:08,440 --> 00:36:13,920 because then hit a button and he's doing a soaring distortion solo. Yeah, 412 00:36:14,000 --> 00:36:15,559 where you know, not so much on this, and then it sounds 413 00:36:15,599 --> 00:36:20,280 like like a B three on the next Sweet. I like that. I'm 414 00:36:20,320 --> 00:36:24,360 a sucker for it. Hammond, Hamond cheese. You guys want to do 415 00:36:24,599 --> 00:36:27,639 uh you see? Yeah? You have one more? Right, We got 416 00:36:27,679 --> 00:36:29,960 as many more as you want. We got one more that we we practiced 417 00:36:29,960 --> 00:36:31,719 for this and we could throw another one and if we got time, yeah, 418 00:36:31,840 --> 00:36:35,760 well we'll see how the we'll see how the time is but we can 419 00:36:35,800 --> 00:36:38,559 definitely get one more. And so this next song, this is written about 420 00:36:38,559 --> 00:36:43,760 my wife's cousin. She passed away about twenty years ago doing some piece work 421 00:36:43,800 --> 00:36:45,679 in the Middle East. Oh wow, really, Yeah, you can google 422 00:36:45,760 --> 00:36:49,800 her name's Rachel Corey. There's probably more information than you want to know. 423 00:36:50,119 --> 00:36:53,440 Frankly, Uh, it's a tragic tail all around. It took a long 424 00:36:53,559 --> 00:36:59,800 time for me to write this her her journals were Actually Alan Rickman from Snape 425 00:37:00,920 --> 00:37:05,119 actually took her journals and wrote a one woman play called My Name Is Rachel 426 00:37:05,119 --> 00:37:08,519 I Believe or Let Me stand Alone, and that toured briefly in New York 427 00:37:08,599 --> 00:37:10,760 and then off Broadway. We went to see it a couple of times, 428 00:37:10,840 --> 00:37:15,679 once in New York, once here in Boston. And a lot of the 429 00:37:15,000 --> 00:37:19,880 lyrics from this and most of the chorus actually come from her journals, So 430 00:37:20,280 --> 00:37:22,280 I kind of tried to stitch it together and make it a cohesive narrative. 431 00:37:22,360 --> 00:37:27,360 But the majority of the content from the song actually comes directly from her journals 432 00:37:28,199 --> 00:37:30,320 right up to the day before she died. Wow. Heavy song, but 433 00:37:30,440 --> 00:37:34,440 it's a story that needed to be told. It took me about fifteen years 434 00:37:34,519 --> 00:37:37,599 to have the courage to put it down. And what's her name, Rachel 435 00:37:37,079 --> 00:37:40,639 Corey. Yeah, all right, yeah, she was twenty three. Wow. 436 00:37:42,039 --> 00:37:45,440 We could have done probably ten verses, but so it's yeah, it's 437 00:37:45,440 --> 00:37:50,840 still a seven minute song. But yeah, so this one's called the Whole 438 00:37:50,880 --> 00:38:15,760 Wide World, all right, jam tomorrow. A child of the Puget Sound, 439 00:38:16,599 --> 00:38:28,159 a dove in town array, raised by caring parents, aware of the 440 00:38:28,360 --> 00:38:37,039 world. They hid me. Dad went to v hid Now you can't come 441 00:38:37,159 --> 00:38:49,320 back. See, I grew up with his sense of calm and burning flame. 442 00:38:52,559 --> 00:38:58,719 Let me stand alone at the end of the earth and look at it, 443 00:38:59,039 --> 00:39:08,159 harness. Maybe my word swells around me. But one thing is stationed 444 00:39:08,320 --> 00:39:21,440 everything. It's the word tis buzz away from my lefts, meaninglessly left them. 445 00:39:21,920 --> 00:39:28,039 Hang in the air for a while, and look at the Mornesslee, 446 00:39:29,639 --> 00:39:45,639 my name is Rachel, trying to bridge the distance between the moon and the 447 00:39:45,840 --> 00:39:55,679 star. I flew across the earl to rougher, and it seemed so far. 448 00:40:00,000 --> 00:40:10,719 Sometimes you work for the world, sometimes for yourself. Sometimes you can't 449 00:40:10,960 --> 00:40:22,039 see what is hiding on the highest shell. Let me stand alone at the 450 00:40:22,920 --> 00:40:30,280 hull, be here and look at it, the honest seed. Maybe my 451 00:40:30,719 --> 00:40:39,280 work swells around me but one thing is stationed everything. If the word die 452 00:40:39,599 --> 00:40:50,000 you buzz away from my left meaning English. He lead back hat in the 453 00:40:50,320 --> 00:41:07,559 air for WHI and look at them honest feed. My name is Rachel houses 454 00:41:07,880 --> 00:41:22,440 dear malished. Two orages on in alle machine gun fire at sunset, Mozar 455 00:41:22,559 --> 00:41:31,599 blasts at ton. Who are they? Why are they? They asked behind? 456 00:41:31,920 --> 00:41:46,000 Now will die? We came from America to stop these attacks. Let 457 00:41:46,159 --> 00:41:53,440 me stand alone at the end John here and look at it on his mee 458 00:41:55,599 --> 00:42:04,320 main in my well swells around me. But one thing is stationed everything. 459 00:42:06,000 --> 00:42:15,639 The one time used buzz away from my left meaningless. He let them hanging 460 00:42:15,840 --> 00:42:23,400 in the air, far away and look at the monas be. My name 461 00:42:23,559 --> 00:42:45,440 is Rachel, greeting people. I baby beloved, showing love, thinking back 462 00:42:45,719 --> 00:42:55,360 when I was a child, parading as We have to protect the war. 463 00:42:55,960 --> 00:43:09,719 We need war to a line building tost This moment I never found so alne. 464 00:43:13,840 --> 00:43:21,239 Let me stand alone at the job and look at it onnest me. 465 00:43:22,559 --> 00:43:32,119 Maybe my world wealth around me, But one thing is stationed everything it though 466 00:43:32,199 --> 00:43:43,320 who was I used buzz away from my laf meeting. We see the backpack 467 00:43:43,679 --> 00:43:51,599 in the air photo one and look at them hoardest s. My name is 468 00:43:51,800 --> 00:44:05,760 Rachel. My name is Rachel. My name is Rachel, my name. 469 00:44:20,519 --> 00:44:23,599 Wow. That's an intense song. That's great. Thank you. That is 470 00:44:23,639 --> 00:44:27,679 amazing. That is amazing. I wish we had time for one more, 471 00:44:27,719 --> 00:44:30,679 but we're actually almost out of show. But that was awesome. But guys, 472 00:44:30,760 --> 00:44:32,719 thank you so much. And before we do run out of time, 473 00:44:32,800 --> 00:44:36,679 please tell us what we should know about, where to find you online, 474 00:44:36,880 --> 00:44:38,559 keep up with what you're doing, social media, upcoming shows, anything you 475 00:44:38,599 --> 00:44:42,480 want to make sure So we don't have a website, we're still working on 476 00:44:42,559 --> 00:44:44,639 that, still working on the album, still kind of trying to take this 477 00:44:44,760 --> 00:44:47,400 little more seriously than just some kids in the sandbox pretending to be a rock 478 00:44:47,440 --> 00:44:51,719 and roll band. To quote Shell Silverstein. We've got a show coming up 479 00:44:51,800 --> 00:44:54,639 on the twenty fourth at Strange Brew. Facebook's always the best way to follow 480 00:44:54,719 --> 00:44:58,559 us. We do have a page Jim Tomorrow dash at the Band, so 481 00:44:58,599 --> 00:45:00,320 you don't confuse it with like, you know, Jim to Sorrow, the 482 00:45:00,360 --> 00:45:04,119 Lunchbox, the Sleeping Bag, Jim Tomorrow the Flamethrower. The kids love that 483 00:45:04,199 --> 00:45:07,239 one, so you can track us there. We always make sure we put 484 00:45:07,280 --> 00:45:13,280 out postings several weeks ahead of shows. We're also doing Friends eight. I 485 00:45:13,320 --> 00:45:15,679 think that's the next that's next month, the twenty. Yeah, and we're 486 00:45:15,679 --> 00:45:21,519 doing Rob as Evado's doing a thing down in arms Park Saturday the twenty six, 487 00:45:21,719 --> 00:45:23,000 I think, and we're gonna play it around six thirties, just Gary 488 00:45:23,039 --> 00:45:24,880 and I. Mark's got something else going on, so we're gonna do a 489 00:45:24,960 --> 00:45:28,679 couple of cuts that we've been working on together sort of independently, well, 490 00:45:28,760 --> 00:45:30,440 a couple of covers probably, So that's where you can find us, but 491 00:45:30,480 --> 00:45:32,599 we appreciate it and hopefully you can find us here again because we'd love to 492 00:45:32,639 --> 00:45:36,519 come back. Oh. Absolutely absolutely. Have you been on Rob's show? 493 00:45:37,159 --> 00:45:38,880 Yeah, we're working on it. Yeah, yeah, my other project was 494 00:45:39,000 --> 00:45:42,239 on there and it was it was cool. It's a cool spot. So 495 00:45:42,360 --> 00:45:45,559 Gary's and Fox and the Flamingos as well. A really cool five piece funk 496 00:45:45,639 --> 00:45:49,840 projects, super high energy, really great covers, some cool originals, very 497 00:45:49,920 --> 00:45:52,159 talented folks. You should check them out too. Yeah, yeah, absolutely 498 00:45:52,480 --> 00:45:58,159 too. Yes, absolutely, take up a little more space, not a 499 00:45:58,239 --> 00:46:00,079 problem, not a problem. Well, yes, this has been wonderful. 500 00:46:00,119 --> 00:46:02,840 Thank you so much, and you Matgen, thank you so much. We 501 00:46:02,880 --> 00:46:07,239 really appreciate it absolutely, absolutely, and it's great to see you. And 502 00:46:07,719 --> 00:46:10,199 while you're sounding great, thank you. I felt like that was a great 503 00:46:10,360 --> 00:46:14,079 chemical distance, was a great place to sort of learn. Had a tour 504 00:46:14,199 --> 00:46:15,840 and had a book and had a guerrilla market, but I didn't have a 505 00:46:15,880 --> 00:46:17,840 lot of room to play as far as what I was gonna do. And 506 00:46:17,920 --> 00:46:22,199 this, this project gives me just so much more leeway to kind of ye 507 00:46:22,760 --> 00:46:23,920 claim my hokey old stuff.