We've got a great band here with you. So I'm going to introduce Michael
help Lee Pierce. How are you, sir? You said my name right,
You've already warned my heart, my friend. Well, you and I
were in a band together, so you know, I kind of I probably
should get your name right. I appreciate that. I'm really happy to be
here. This is a long overdo It's been too long since we've had fun
together. Yeah, it's great to see you man, great to see you,
and I love I love the song there, thank you that killing time
and your new project jam tomorrow. And what I would like you to do,
sir, if you wouldn't mind, is I'll let you introduce these other
two gentlemen who I'm meeting for the first time today. I'd be happy to
do so. So joining me on my far left is the amazing Mark Vadney
on six string acoustic and occasionally electric. He's he and I started the band
kind of ass a COVID project. Really just try to not go crazy and
sit six feet apart and still make some music with people and deal with the
madness that was happening three or four years ago, and not too long thereafter,
we start playing gigs, and we very shortly thereafter drafted Gary Smith,
who's sitting in the middle. Gary Handle's bass and eight string, sometimes twelve
string. Mark sometimes is on twelve string as well. I'm only ever on
the G string. It's about all I'm good at. Play in its alas,
always at a tune, always at the G string. I feel like
I've heard that joke before. I'm sure, sure, I'm sure I'll use
Yeah. So we started playing together, I don't know, probably two years
ago, doing mostly what I would call hokey singer songwriter covers. Started expending
that a little bit more. We're working on originals, and we're now at
a point where we have I think twenty five originals. Wow, ready to
go. We just recorded the first one, which you guys were kind enough
to debut for us, Yes the world Radio. Yeah, great stuff,
and we've got more to record behind that. We've got a really cool engineer
that we're working with, and we're we're really happy to make some more of
that happen. Outstanding. By the way. Mike from Queen's City Cabinetry Mike
Pelopidas in the Facebook live chat and says good to see Michael. Yeah,
good to see you in my friend. He was an old customer, old
friend of mine. Yeah, yeah, well, listen, you guys want
to you want to play, play something for us, and I'll ride the
faders a little bit. We're not we can't really no way to do an
off air or sound check, so to speak. But I'll do my best
with the missing But yeah, what do you want to play? Yeah,
so we've got a bunch of originals lined up for you. We tried to
kind of pick a smattering both stylistically and subject matter. Yeah. I'm a
little overly intellectual in my lyrics self, admittedly, and these guys are amazing
musicians. This is a song about the triumphs of the Tarot deck. So
this is sort of a psychedelic visual journey through the twenty one triumphs in the
place of the fool taking the journey itself, and how that's kind of all
of us. So this one's called twenty two, all right, traveling through
the world, pass popes and potentates as princesses and love look my way and
waiting, But the one with the way to the world is in my chariot,
and that mugenin might become yet Just the dou who's springing half the edges,
got my bag, I got my dog, got stepping off of legend.
As the carter tells I seek, I always bring the rules, care
free, don't care for me. I half played the food. I have
to play the fool. I need to have the strength to hold a lion
tights and stand alone in darkness, holding out the light as the wheel of
fortune spins his justice on my inside, as they hang me upside down,
my hands behind me, tire jun the food who springing at the edges,
got my bag, I got my dog. I'm stepping off legend as the
deck bands down. I see how fit is cruel, care free, don't
care them me. I have to play the fool. After pabo oh and
I smelt death unmistakable. A man upon the warps to one glass empty,
one glass fool as the devil binds me in chains, as I can see
the towels fall, but I avoid the lighting somehow, always give it all.
Just the fool who's springing at the edges, got my bag, I
got my dog. I'm stepping off of ledgd as the cart rained down,
I'm drowning in the pool. Care every don't care for me. I have
to say the fool, have to pray the fool. A woman like a
star has pictures in her hand as the moon shines over all the creatures,
the sea and land. But the sun is rising and the Egel trumpets judgment
time. The world is out if we can only fly, just the fool
who's bringing at the edges. Got my bag, I got my dog.
I'm stepping up of legend as the House of Cards burns down us see us
Jafrey, don't I have the fool? Have the fool? Twenty two,
twenty two two? Very nice, Thank you, very nice. If you're
just joining us, Jam Tomorrow is here with us live in studio. Mike
from Queen City Cabinetry says, very good. Yes, thanks brother, appreciate
that. Where does the name come from? By the way, Jam Tomorrow,
so as you know from us, haven't made so. Matt and I
were in a band together thirteen fourteen, fifteen years ago. We were in
a band called Chemical Distance, which you can still find some stuff if you
dig not too deep under the I think I think twelve years are right.
I think the first album drop maybe ten eleven. Yeah, somewhere in that
time, COVID caused a lot of time to start. Yeah, So I'm
a nerd, and I'm a book nerd, and I'm a big Lewis Carroll
fan. And Lewis Carroll actually had a phrase in Through the Looking Glass that
was said by the Red Queen where they're at a tea party analysis gonna have
some jam, and the Queen says, jam tomorrow, jam yesterday, but
never jam today. And it's sort of a play on the Latin for to
be I am okay because I is ja if you remember from Indiana Jones when
you're stepping on the stones and we were having trouble Mark and I kind of
lining up our rehearsal dates. At the beginning, it was always like,
okay, we jam today, now, maybe we can jam tomorrow, and
so then it sort of began jam tomorrow. So it's sort of multifaceted,
but at its root, it's sort of that. Yeah, it's always a
play on Lewis Carroll, and we've got we've got a bunch of references to
that in our music, for sure, gotcha, gotcha. By the way
I've played Red Queen's Race by chemical distance goes way back. Yeah, Yeah,
I tell, I tell everybody that's our hit. Yeah, it would
have been that. So when when did this project? So it started out
with you and Mark, right, the two of you, and yeah,
I mean Mark and I had done actually a project with Auto if you remember
the engineer that we did our first album. We did a Christmas album and
okay, they were looking for a Christmas song, hokey Christmas song, so
Otto and Mark and I actually did Christmas for Cowboys from a John Denver Christmas
album that he actually covered from somebody I had never heard of once again,
probably like twelve ash years ago, and then just reconnected realizing how close we
lived, and started playing and then just through sort of mutual acquaintances, Gary
kind of got sucked into the mix and it's it's sort of like there was
no looking back from that point. Yeah, I'm really fortunate to have these
amazing dudes to play with. Yeah, no doubt, no doubt. Now,
So Gary, how long have you been in the band? Pretty much
for a year and a half, probably a year and a half, two
years Yeah, okay, I think we played our first gig together about two
years ago. We had played together at a mutual friend's house and so we
had had some experience playing together, but I didn't officially probably join until about
a year and a half two years ago, sometime in that range. Gotcha,
gotcha? Do you guys play out a lot? Are you playing a
lot of shows or yeah, we did four gigs in July. I think
we're kind of shooting for like two a month because we all have somewhat demanding
jobs, pretty demanding jobs. You know, we're all doing fifty hours a
week somewhere forty five hours a week somewhere in that neighborhood. So we don't
want to take it too heavy. But we're really fortunate that Manchester is such
a great music town, though we don't have to travel too smar can I
mention a couple of venues where we play. Is that acceptable? So,
like, we've played at Strange Brew all the time. We're playing there on
the twenty fourth. Mitch is super kind to us and gives us a lot
of really great slots. We play at Granite Tapas all the time, and
Hooks It we play. We play at Hop Not. It's been a little
while, but but Kenny's brought us on to play four or five times.
So we really like Mark and I both live less than a mile from here.
We don't care if Gary us to dry. Frankly, so right,
it's a bass player, so we keep it easier. We often just like
shoot for gigs like somewhere between Conquered and Manchester, so that at least one
of us doesn't have to travel so far right right, which is a nice
place to be. It's nice to be in such a you know, I
remember a decade ago when we were trying to find places to play. No
one wanted to hire you to play Originals if you were going to like a
party band that could play all covers that people knew. You can get a
good gig playing on a deck somewhere. But of course, like we play
a third Originals and all of our venues are on board with that. They're
okay, we play and most of our covers are obscure. We throw in
like a third cover. Is that you're going to know the words too?
When I've heard but a lot of our covers you might as well be Originals
because they're like deep cuts and no one right right, yeah, Now,
when you play out is it is it this configuration or do you ever pull
out electric guitars? Or it's always Yeah. I mean most of the time
we'll have an electric and an acoustic with us, and you know we have
we'll have some different configuration. I usually have something h string and Mark usually
has something cool sounding. Yeah. I was suffering from ten to nineties issues
for a while, so playing this for three hours was killing me. So
I tried to incorporate electric, but I couldn't find a pedal or a sound
that made the electric quite sound acoustic enough. So I found hybrid guitar that
is the best of both worlds. So yeah, you know I can do
that, but I needed this today because I knew we weren't plugged in right
right? Yeah, yeah, excellent. You guys want to play another song?
Yeah, so this next one is uh, this one's called motor Lodge.
I've been writing for thirty years in various capacities, like really since college
at least ninety two, but longer than that. This is one of my
favorite things that I've ever written, and I feel like I didn't actually write
it. I feel like I really held the pen and I kind of channeled
it, and I don't know where it came from. I can sort of
see this person and that sounds hokey, and I know there's people probably shaking
their head as I heard this. I might shake my head too, but
I really I felt more like a conduit than a creator in this piece.
So this is called motor Lodge, okay. And I will say from a
musicians point, we're very naked today because this is a song that I have
a very ethereal reverb, caf cavernous sound because to create an effect. So
we're very dry today. So yeah, yeah, it's gonna be way better
live. So it comes to this. Yeah, alright, ladies and gentlemen,
jam tomorrow tin these wooden instruments. Sometimes I think you don't even hear
me. Sometimes I think I don't want you to hear me. He Sometimes
I think I'm listening your utimes, but that sometimes I don't miss you so
much. Sometimes I find out which foil smile dance. Sometimes as I stand
out of the rain with eating one hand, sometimes I wonder where you went
to dance. Sometimes I question my tex. It jumps the question every single
time, never answers, never really danty or it jumps the question. What
do you ask if you do you believe you going through? Go ahead through
Ofttimes I don't remember the moment that past. Ofttimes I can't distinguish the first
from the line. Ofttimes I feel I've walked through these footsteps before. Enough
times, as I see my handprints on the hug on side, I find
I reach for your hand, but then aping size and disappus again. Up
the times I want to do what happened? Up time? What med me?
It jumps questern every single time, never read, never anything? He
would It jumps question? What do you ask of you? Feeling blood?
Thinking it is thinking? Most times I fear I've lost myself in the past.
Most times I fear I've let the wrong moment. Laugh most time,
ladies in me in the mealad on, And most times I can't predict my
fault. Most times I don't know what we're round in. Most times I
can't believe singing this song. Most time I don't know how this speling.
The most times I was good, What's round? Let's round? It comes
to Western every single time, never answered, never anything, de most lime,
it comes to Western? What did you ask? Wow? Fantastic,
thank you, yeah, yeah, thanks very much. If you're just joining
us, we have the members of Jam Tomorrow here in studio with us.
We have Mike and Mark and Gary and Jenny is here at the newscask and
we're really enjoying this. Do you, Mike, do you write all the
lyrics? I do. Yeah, it's uh, we are a pretty clear
division of labor. Usually Mark and I kind of bounced stuff back and forth.
I have a very very solitary writing process. I'm kind of selfish.
I always found, even when I was doing Chemical distance, every project I've
had, I usually like let the creative people that make the music make the
music, and then I take the music away to my lair and I put
lyrics to it, and then we come back and we share, we bounce
back. I think it's kind of like how Rush writes. You know,
we're like one part does one thing, and then it's division of labor and
they sort of separate it out. Now that we've got two musicians, it's
even easier because literally we always rehearse at my house because I feed us and
we have space. So it's pretty easy for these guys to you just like,
all right, we can have with your house good And so I'll literally
be like I'm gonna go get some more beers from the kitchen and I'll just
put my phone on the table where these guys are hanging out and just hit
record on the record app, and freaking magic just happens. And I come
back and I'm like, oh, all right, well there's our next song.
Yeah, and then we literally just taken I say, okay, I
feel like this is the opener and this is the verse, and this is
the chorus, and we can sequence it like this and what do you guys
think about that? And then we kind of bounce it back and forth and
then I write the lyrics, we come back, Mark find some harmonies for
it, and then it just sort of all comes together. So it's very
collaborative, but at the same time it's it's sort of iterative. And Gary's
been great about like taking songs over and him and being why don't we do
this for an intro? Yeah? How do you feel about this middle break?
Putting in bridges? And you know, because listen to most of our
music, not a lot of bridges, a lot of verses, a lot
of courses, not a lot of bridges. Terry is the facilitator of those
those things, helping us break being formulated because I'm kind of a singer songwriter
verse chorus, verse chorus, bridge, verse chorus and a guy and sure,
and I think Mark and I gent we're writing in four four, writing
within a sort of you know, a bpm range that's sort of somewhat predictable,
and Gary absolutely helps us sort of break those uh seventies eighties blues rockers.
So yeah, yeah, I do think for melaic too much, but
yeah, it's natural. So's it's natural. I mean, you know,
there is an established sort of format that we all fall into with it.
It's but that's you know, it's there for a reason. That's what just
sounds pleasing to us as humans, you know, and it's comfortable too.
And I think for us it's like we don't want to fight with the mechanism.
We really just want to get to the place where we want to be
and do our thing and sometimes just falling into four four at one hundred and
five bpm, you know, in a in a chord progression that we're sort
of comfortable with, it's like, okay, well we can tell a story
here, like we already know the terrain. It's it gives us that much
more ease of action. Yeah, yeah, Like the first twelve or fifteen
songs. We're like music I've just had tucked away since seventies and eighties.
And then he's like, send me some idea. So I kept pulling out
these things that were just a long time yeah, and he just kind of
loomed the flowers, so to speak. Oh wow, yeah that's cool.
Yeah. Yeah. I never throw away an idea, right because I can't
write lyrics with the life of me really, and I'm not the guy to
put out a melody. So I think we all we all sort of know
our place and we're all really happy. Yeah. I hate to say staying
in our lane, because it's not about like, hey, don't do my
thing, more about like, you're really good at this, you do that
right? Well, if it works, it works. Yeah. Yeah,
he has want to play another song. I want. I'm dying to hear
another one. Yeah, we got a bunch more so. This next one
is actually the first song that we wrote. This is definitely a COVID song.
Uh. It starts with the choruses that are starting with a verse,
just because we felt like being unconventional. This one's called Falling into Place.
This was definitely inspired by going to see Sean Mullin's outside of Tupelo Music Hall
when yes, when COVID first started and they moved his show from inside of
the concert to the outside of the culture. We're huge fans and if I
can give a quick thirty second story, we actually went to see him up
two hours north in Bethlehem, like a month ago. Mark and his wife
drove home after the show. We were trying to get an autograph. Couldn't
get anyone with theater to get us an autograph. My wife and I stayed
at a local BMB wake up in the morning because the sun just streaming into
our room, So like seven o'clock in the morning, we're showered, packed
riddy out the door, which is really unconventional for us, especially after a
late show. And it's a tiny little B ANDB with seven rooms, and
I walk out into the hallway and there's this guy walking around with a paper
cup of coffee, looking a little lost, and it's Sean Mullin, no
kidding, and he's like I would say, after Paul Simon, and that's
a tall order. He's my number two most inspirational favorite, wow in my
heart songwriter, and he's right there. Oh my god, what are the
odds? And I looked at him and I said, dude, you were
amazing last night. He's got this beautiful baritone. He just goes, oh,
thanks, you were there, and I'm like, yeah, that's why
I'm here. He goes, oh, do you know where breakfast? And
I said, yeah, it's in that room right there. If you just
sit down, they said, a waitress will come over. I said,
Sean, would you like some company? He goes, yeah, that'd be
really nice. And my wife and I sat down with Sean Mullins and I
breakfast with him for an hour and I didn't ask him like creative questions or
music questions. We talked about life on the road because I've been on the
road for sales twenty years, so I didn't fanboy on them until the very
end. And then I got pictures and got like autographs from Mark and I
were Hugh Sean Mullin fans. And I feel like this song was very much
his zeitgeist. Was still sort of like pushing us to write our first song
when we when we came out with this, Oh that's so cool. So
this one's called Falling into Place, and I feel like things are falling against
play, and I feel like it's the end of the Red Queen's Rains,
and I feel like the star are gonna change because I feel like this was
all just rearranged as we moved from hugs and handshake. We must remember how
our souls as we moved from confidence to confidence, we must remember how our
souls pay. And I feel like things are falling into places, and I
feel like it's me after the Red Queen's Race, And I feel like the
star for gotta shame because I feel like small rearranged and people take too much
pride in the way they picked their side ha ha ha split up into them
and us a sign seating on the bars on the books. But I feel
like things are falling into played and I feel like it's the end of the
Red Queen's right and I feel like the stars, like the stars gotta shape,
because I feel like this was all reading. As our lives getting most
separated here, well we wish they weren't so as things get more complicated,
well we wish we could just know, just know. And I feel like
things are falling against place and die me like it's the end of the Red
Queen's Raging and I feel like a star We're gonna change because I feel like
this was all frearing and I feel like things are falling agast place to die.
Feel like it's the end of the Red Queen raging, and I feel
like the stars, like the stars are gonna change because I feel like this
prey. Oh that's my favorite so far. Yeah, that's my favorite.
I love that. Thank you. I hope that's one of the ones you're
recording eventually. We hope they all make it like these are definitely next thing
Q. Yeah. Yeah, we got two more that we slated. If
we have time for a third, we can break it. But everything that
we're gonna hear today, yeah, every of your inter day. We'll definitely
make it to the to the engineering booth in the next hopefully six months or
so. Yeah, good good, our guys local. He's a professional.
He's actually touring with Bad Fish right now, running their sound live. He's
got a home set up. He's what's the name Barnwood studio, boards,
boards, house production. Yeah, totally wrong. Yeah. Create. He
does roots to create and he does that fit. Oh okay, very good,
very good. By the way Garyet accrued to me, I don't think
I've ever seen an eight string guitar in this room before. I think you're
the first one to bring one in. I'm glad, I'm glad to break
the seal. Yeah, yeah, you should see this electric has actually got
frets. What do you call those frets that are just like so none of
them are straight. They literally each fret shifts at each string and it's like
an asymmetrical lightning bowl. It's crazy, but it's got this beautiful true tone.
Wow, this is the Bartelex h string nylon. So it's a yeah,
and it's fan fred it's it's it's fun. It was the first thing
that got me into h strings, my old guitar teacher, No kidding,
Yeah, it's yeah, it's awesome. It's have you met other a lot
of other people who play an eighth string? It's not really. I mean
some like people in the crazy metal world, they like to go eh string
Yeah, And I mean I have a jazz background, so there's some like
jazz guitarists who like to do like walking bass lines. Yeah, so that's
what why I got it from my teacher. He has a host of eight
and weird amount of strings. So yeah, yeah, and you do you
fingerpick everything. It's a mixture. Like that song, I was doing a
lot of finger picking some of the other songs, and the next song,
I think I do a lot of pickings. So it's a it's a mixture
of both. But I've played nylons a lot of my life, so yeah,
it's even though this is the widest neck you've ever seen, and it's
really not too bad. It's like a meme smart do you always pick or
do you have a fingerpick? I do mixture of both. I do have
some of our originals that are all fingerpicking. Okay, I mostly uh facilitate
the rhythmic portion of what we do. Yeah, gives Gary freedom to fill
in all the holes with the taste. Yeah, yeah, absolutely absolutely so
mostly yeah rumming. Okay, all right, Yeah, you guys want to
play another? Yeah? Table five? What is that? Table five?
Oh? All right? So this is uh mark another reason these are amazing
humans. I cannot stress enough. This is the project that I've been waiting
on my whole life. And I'm glad I've done every project I've done,
but this is the one that I've really been waiting for. These guys also
invite me to shows, to see people that broaden my musical horizons, opened
my mind up. And Mark said, hey, let's go see Chris.
Til we saw him in Portsmouth. Nobody was there. It was really sad.
It was like a quarter of the theater was full. This guy was
amazing and he made me start thinking about Leonard Cohen again, who I really
hadn't thought about seriously since like ninety five six seven when I was in college.
And it made me start thinking about Leonard Cohen. So somehow that turned
into sort of a blue grassy song. So this is beautiful Loser, which
is our compute to Leonard Cohen. Chris plays in Nickel Creeks. Oh okay,
I was gonna say, I know, I know the name Helen and
mandolin. Yeah, videos super obscure, but an amazing player, great stage
presents, great performer, all by himself. One instrument, two Mike's one
for the instrument, one for him, no effects, just like on stage,
just making it was the last time you saw a guy with a mandolin.
Just capture Hill where in Portsmouth? Was he that old the old theater
that they just redid with the nice marquis at the top, kind of took
off the main Street. Yeah, sort of Gilded era. Kind of reminds
me a miniature version of the Orpheum. Oh, I can picture it.
Yeah, it looked like it was late eighteen hundreds. I can't remember the
name, but it was. It was redone and beautiful. Yeah, great
show. Yeah, very cool, very cool. This is a mix of
Leonard Cohen and blue grass. Yeah, let's called beautiful user All right,
jam tomorrow there with us in the studio, A big hole in the fabric
of space and time. Like I had a dollar and I needed a time.
A bansful bits of the missus Sammy from the Minnesota Highlights to the New
Orleans Socian. She grips me. And I don't know what happened to me
between mealing light and living free, keep walking into Horse where I think I
might be. God is a lie, that magic is afoot. Somethings just
won't stay where their foots. Reinvention tainted by previous intention won't save us from
those things we just can't mention. And I don't know what happened to me
between me and light man, living free, keep walking too Horse where I
think I might be, think I might be to the bread, And I
don't know what happened to me between me and life, living free, keep
walking thought where I became me every time we pull back the curtain me to
find another curtain, but my mind is weary and my back is hurting.
The only thing I've ever known for searching. It's behind every curtain, there's
another curtain and another curtain, And I don't know what happens to me.
Dreen mealing life, living free, keep walking thors where I think I might
be And I don't know what happens to me dream mealing life and living free,
keep walking thoughs where I think I might be. I think I might
be. I think I might dream what happens to me? Tween me,
life, live every keep walking thors where I Yeah. Nice, We just
that's a new ending for us. We just just worked on that our last
we heard yeah, the whole a capella piece and then switching out, So
that was a that was a thank you, That was that was our first
time I think we've ever done that live. Yeah, I was a surprise
here and the two of you singing together because you haven't done Anyboddy, They'll
expect it all the time. Mark Hartant is on like twenty five percent of
our songs, but we haven't developed a lot for our originals yet. Yeah.
No, that sounded really good though, thank you, really good,
absolutely, and it's funny too Gary During that song, that was when I
really like watching you. That's when I really got it. As far as
he ate string, it was like, oh, I get it, you
know, because you're you're playing guitar and you're playing bass at the same time.
Effectively, it was like hate just switches modalities like yeah, yeah,
which you know, which you're done on the other side. But with that
song, it was like, Oh, I get it, Yeah, I
really get it. Yeah. It transfers even more on electric, you know,
because then hit a button and he's doing a soaring distortion solo. Yeah,
where you know, not so much on this, and then it sounds
like like a B three on the next Sweet. I like that. I'm
a sucker for it. Hammond, Hamond cheese. You guys want to do
uh you see? Yeah? You have one more? Right, We got
as many more as you want. We got one more that we we practiced
for this and we could throw another one and if we got time, yeah,
well we'll see how the we'll see how the time is but we can
definitely get one more. And so this next song, this is written about
my wife's cousin. She passed away about twenty years ago doing some piece work
in the Middle East. Oh wow, really, Yeah, you can google
her name's Rachel Corey. There's probably more information than you want to know.
Frankly, Uh, it's a tragic tail all around. It took a long
time for me to write this her her journals were Actually Alan Rickman from Snape
actually took her journals and wrote a one woman play called My Name Is Rachel
I Believe or Let Me stand Alone, and that toured briefly in New York
and then off Broadway. We went to see it a couple of times,
once in New York, once here in Boston. And a lot of the
lyrics from this and most of the chorus actually come from her journals, So
I kind of tried to stitch it together and make it a cohesive narrative.
But the majority of the content from the song actually comes directly from her journals
right up to the day before she died. Wow. Heavy song, but
it's a story that needed to be told. It took me about fifteen years
to have the courage to put it down. And what's her name, Rachel
Corey. Yeah, all right, yeah, she was twenty three. Wow.
We could have done probably ten verses, but so it's yeah, it's
still a seven minute song. But yeah, so this one's called the Whole
Wide World, all right, jam tomorrow. A child of the Puget Sound,
a dove in town array, raised by caring parents, aware of the
world. They hid me. Dad went to v hid Now you can't come
back. See, I grew up with his sense of calm and burning flame.
Let me stand alone at the end of the earth and look at it,
harness. Maybe my word swells around me. But one thing is stationed
everything. It's the word tis buzz away from my lefts, meaninglessly left them.
Hang in the air for a while, and look at the Mornesslee,
my name is Rachel, trying to bridge the distance between the moon and the
star. I flew across the earl to rougher, and it seemed so far.
Sometimes you work for the world, sometimes for yourself. Sometimes you can't
see what is hiding on the highest shell. Let me stand alone at the
hull, be here and look at it, the honest seed. Maybe my
work swells around me but one thing is stationed everything. If the word die
you buzz away from my left meaning English. He lead back hat in the
air for WHI and look at them honest feed. My name is Rachel houses
dear malished. Two orages on in alle machine gun fire at sunset, Mozar
blasts at ton. Who are they? Why are they? They asked behind?
Now will die? We came from America to stop these attacks. Let
me stand alone at the end John here and look at it on his mee
main in my well swells around me. But one thing is stationed everything.
The one time used buzz away from my left meaningless. He let them hanging
in the air, far away and look at the monas be. My name
is Rachel, greeting people. I baby beloved, showing love, thinking back
when I was a child, parading as We have to protect the war.
We need war to a line building tost This moment I never found so alne.
Let me stand alone at the job and look at it onnest me.
Maybe my world wealth around me, But one thing is stationed everything it though
who was I used buzz away from my laf meeting. We see the backpack
in the air photo one and look at them hoardest s. My name is
Rachel. My name is Rachel. My name is Rachel, my name.
Wow. That's an intense song. That's great. Thank you. That is
amazing. That is amazing. I wish we had time for one more,
but we're actually almost out of show. But that was awesome. But guys,
thank you so much. And before we do run out of time,
please tell us what we should know about, where to find you online,
keep up with what you're doing, social media, upcoming shows, anything you
want to make sure So we don't have a website, we're still working on
that, still working on the album, still kind of trying to take this
little more seriously than just some kids in the sandbox pretending to be a rock
and roll band. To quote Shell Silverstein. We've got a show coming up
on the twenty fourth at Strange Brew. Facebook's always the best way to follow
us. We do have a page Jim Tomorrow dash at the Band, so
you don't confuse it with like, you know, Jim to Sorrow, the
Lunchbox, the Sleeping Bag, Jim Tomorrow the Flamethrower. The kids love that
one, so you can track us there. We always make sure we put
out postings several weeks ahead of shows. We're also doing Friends eight. I
think that's the next that's next month, the twenty. Yeah, and we're
doing Rob as Evado's doing a thing down in arms Park Saturday the twenty six,
I think, and we're gonna play it around six thirties, just Gary
and I. Mark's got something else going on, so we're gonna do a
couple of cuts that we've been working on together sort of independently, well,
a couple of covers probably, So that's where you can find us, but
we appreciate it and hopefully you can find us here again because we'd love to
come back. Oh. Absolutely absolutely. Have you been on Rob's show?
Yeah, we're working on it. Yeah, yeah, my other project was
on there and it was it was cool. It's a cool spot. So
Gary's and Fox and the Flamingos as well. A really cool five piece funk
projects, super high energy, really great covers, some cool originals, very
talented folks. You should check them out too. Yeah, yeah, absolutely
too. Yes, absolutely, take up a little more space, not a
problem, not a problem. Well, yes, this has been wonderful.
Thank you so much, and you Matgen, thank you so much. We
really appreciate it absolutely, absolutely, and it's great to see you. And
while you're sounding great, thank you. I felt like that was a great
chemical distance, was a great place to sort of learn. Had a tour
and had a book and had a guerrilla market, but I didn't have a
lot of room to play as far as what I was gonna do. And
this, this project gives me just so much more leeway to kind of ye
claim my hokey old stuff.