1 00:00:01,240 --> 00:00:15,599 It's ok. Are we can change if we con the data that God tell 2 00:00:15,679 --> 00:00:24,600 me? Why can they do so something? I think? An can't you 3 00:00:24,839 --> 00:00:40,520 stay doing? That wouldn't be any changes. You so many life causing the 4 00:00:44,079 --> 00:01:11,480 sleeted to count. But think of letting the eyes. You remember sum Man, 5 00:01:22,079 --> 00:01:26,560 the third man, hated by a thousand men, desired by one woman. 6 00:01:27,760 --> 00:01:32,680 The third man. Hanging is too good for him. Nothing is too 7 00:01:32,799 --> 00:01:38,599 good for the third man. Her Man was the third man, the man 8 00:01:38,040 --> 00:01:53,480 on every woman's lips via a nineteen fifty A city fearful of its present, 9 00:01:55,480 --> 00:02:04,760 uncertain of its future, once gay, capital of a lighthearted people, here 10 00:02:04,840 --> 00:02:07,919 in the shadows of its palaces and ruins. It's told with tenderness, drama, 11 00:02:08,080 --> 00:02:15,039 and suspense. The story of the Third Man was a third man there? 12 00:02:15,719 --> 00:02:17,520 And I suppose that doesn't sound for cutie to me. I'm not interested 13 00:02:17,560 --> 00:02:22,080 in whether a racketeer like lyme was killed by his friends or by an accident. 14 00:02:22,560 --> 00:02:25,319 The only important thing is that he's dead. Third Man the story of 15 00:02:25,360 --> 00:02:30,439 two men and one woman caught in the dangerous web of an international love affair. 16 00:02:30,840 --> 00:02:34,120 Oh, please, for heaven's sake, stop making him in your image. 17 00:02:34,840 --> 00:02:38,680 Harry was real. He wasn't just your friend and my lover. No, 18 00:02:38,960 --> 00:02:42,639 I don't know. I'm just a hack writer who drinks too much and 19 00:02:43,879 --> 00:02:51,919 falls in love with girls. You me told me such a fool, of 20 00:02:52,039 --> 00:02:58,400 course. The Third Man Joseph Cotton, in his most successful performance as an 21 00:02:58,400 --> 00:03:04,080 American caught in a whirlpool of connin evel intrigue the Glamorous Valley. There is 22 00:03:04,120 --> 00:03:16,840 a mysterious Viennese actress you the Secret of the Third Man. Bit Roles are 23 00:03:16,960 --> 00:03:23,240 one aspect of cinema we have yet to speak about on this program, even 24 00:03:23,280 --> 00:03:28,400 though they are a major part of cinema history. They are short moments when 25 00:03:29,080 --> 00:03:34,039 someone is in a film or seen in a film. They can be when 26 00:03:34,120 --> 00:03:38,080 at the time a novas performer is getting their first role, or done as 27 00:03:38,120 --> 00:03:44,719 a cameo to generate gravitas towards a character or pivotal moment in a particular film. 28 00:03:44,919 --> 00:03:49,479 This week's film has, in my opinion, the greatest bit role in 29 00:03:49,639 --> 00:03:54,000 cinema history, and that is due to the power and complexity in the performance 30 00:03:54,520 --> 00:04:00,719 from this month's Focus or sin Welles, released in Britain in nineteen forty nine 31 00:04:01,120 --> 00:04:06,680 in Stateside in nineteen fifty directed by Carol Reid and based off a treatment from 32 00:04:06,759 --> 00:04:12,759 writer Graham Green. The Third Man tells the tale of down and Out writer 33 00:04:13,080 --> 00:04:18,319 Holly Martin's played by screen legend Joseph Cotton, a man that travels to post 34 00:04:18,480 --> 00:04:24,920 war Vienna to take on a job from his friend Harry Lyme played by Wells, 35 00:04:25,439 --> 00:04:30,720 whom upon his arrival Martins finds out has been murdered. However, while 36 00:04:30,800 --> 00:04:35,680 investigating his death, Martin finds that things are not what they seem. Our 37 00:04:35,759 --> 00:04:42,199 next clip will introduce us to Martin's Shortly after his arrival, he is drinking 38 00:04:42,279 --> 00:04:46,279 in a local pub when he is confronted by major Callaway. As the film 39 00:04:46,439 --> 00:04:53,319 is placed in the film noir genre, this interaction conveys many aspects of this 40 00:04:53,720 --> 00:04:59,199 amazing genre. In one of my personal favorites, the drunken down and out 41 00:04:59,319 --> 00:05:03,079 lead in the authority figure thought to be villainous in the beginning, but as 42 00:05:03,160 --> 00:05:09,439 the film goes on, we find out they are not. Also noticed the 43 00:05:09,600 --> 00:05:15,160 short and terse dialogue between the two that is quite present in this scene. 44 00:05:15,680 --> 00:05:21,120 I guess nobody knew Harry like he did, like I did how long ago, 45 00:05:23,560 --> 00:05:28,439 back in school. It's so lonesome in my life till showed up and 46 00:05:28,560 --> 00:05:32,480 you seem nice. September thirty night, when the business started. She mat 47 00:05:32,639 --> 00:05:36,839 before that once in a while, best friend I ever had. That sounds 48 00:05:36,920 --> 00:05:44,959 like a cheap novel, at my right, cheap novel at I'm afraid I 49 00:05:45,079 --> 00:05:48,800 never heard of it. What's your name again, Holly Martin's? Sorry you 50 00:05:48,879 --> 00:05:55,199 ever hear of the lone writer of Santa Fe Tanjaya? I have det the 51 00:05:55,279 --> 00:06:01,040 double X ranch of Raunch. Nope, Mum must have known how it was 52 00:06:01,120 --> 00:06:05,639 broke. He even sent me an airplane ticket. He's a shame. But 53 00:06:08,360 --> 00:06:13,839 him dying like that the best thing that ever happened to him. What are 54 00:06:13,879 --> 00:06:15,879 you trying to say? He was about the worst racketeer that ever made a 55 00:06:15,959 --> 00:06:19,639 dirty living in the city. Policeman, huh, come on, haven't have 56 00:06:19,680 --> 00:06:23,680 a drink? Oh? I never did, like policeman. I have to 57 00:06:23,720 --> 00:06:27,759 call him sherriff. Have a seen one pending on a dead man? Some 58 00:06:28,639 --> 00:06:33,720 petty racket with gasoline or something, just like a cop? Youre real cop. 59 00:06:33,839 --> 00:06:39,519 I suppose it wasn't petrol, So it wasn't petrol, so it was 60 00:06:39,800 --> 00:06:44,480 tires or sacrine. Why don't you catch a few murderers for a change. 61 00:06:44,720 --> 00:06:49,199 Well, you could say that murder was part of his racket. It's all 62 00:06:49,279 --> 00:06:51,920 right, pen, He's only a scribbler with too much drink in him. 63 00:06:53,519 --> 00:07:00,240 Take mister Holly Martin's term. Holly Marty's the uh the writer deal through the 64 00:07:00,319 --> 00:07:03,240 death at double Ing's run. That's in't callahan, callaway. I'm English, 65 00:07:03,360 --> 00:07:06,040 not Irish. If you're not going to close your files at a dead man's 66 00:07:06,079 --> 00:07:10,120 expense, so you're going to find me the real criminal. Sounds like one 67 00:07:10,160 --> 00:07:13,240 of your stories. When I'm finished with you, you'll leave Vianna. You 68 00:07:13,319 --> 00:07:15,199 look so silly. Here's some army money and should see you through tonight. 69 00:07:15,279 --> 00:07:18,160 That soccers will tell if you don't drink too much in the bar, we'll 70 00:07:18,240 --> 00:07:30,360 keep a seat for you on tomorrow's plane. Please be kntlesit written anything lately. 71 00:07:30,600 --> 00:07:33,560 Take him to soccers. Don't hit him again if he behaves. When 72 00:07:33,680 --> 00:07:39,240 talking about the film, the performance by Cotton is one of his best, 73 00:07:39,480 --> 00:07:44,639 and that is saying a lot. However, Wells is hairy. Lime is 74 00:07:44,759 --> 00:07:49,720 the main attraction in this film. Wells was only on the screen for ten 75 00:07:50,279 --> 00:07:59,480 minutes. However, in those ten minutes, Wells delivers an amazing performance the 76 00:07:59,680 --> 00:08:05,879 film in the writing with this great story builds up the appearance of this wartime 77 00:08:07,040 --> 00:08:11,839 profiteer. But if not for Wells, it wouldn't matter in this film would 78 00:08:11,920 --> 00:08:18,439 not have the legendary status it has today. Our next clip is one of 79 00:08:18,519 --> 00:08:26,040 the most well known from this film. Lime explains to Martin's why his selling 80 00:08:26,319 --> 00:08:33,360 diluted penicillin that has led to the death in paralysis of many, including children, 81 00:08:33,000 --> 00:08:39,240 is acceptable. This scene also shows what made Wells an outstanding performer. 82 00:08:39,840 --> 00:08:46,879 His range and depth is on full display as we hear his callousness, charm, 83 00:08:48,759 --> 00:08:56,519 wit, knowledge, and greed. Victims be melodramatic. I've down, 84 00:08:56,639 --> 00:09:00,639 then, I would you really if you have any of one of those dots 85 00:09:00,720 --> 00:09:05,639 stopped moving forever? If I offered you twenty thousand pounds for every dot that 86 00:09:05,759 --> 00:09:07,279 stopped, would you really, old man, tell me to keep my money? 87 00:09:07,360 --> 00:09:11,720 Or would you calculate how many dots you could afford to spare free of 88 00:09:11,799 --> 00:09:16,000 income tax only free of income taxes, only way you can save money. 89 00:09:16,039 --> 00:09:20,360 Don't there how good your money? I'll do you in jail not jails is 90 00:09:20,480 --> 00:09:28,679 another's zone. There's no proof against me. Besides you, I should be 91 00:09:28,720 --> 00:09:33,159 pretty easy to get rid of, pretty easy, wouldn't be too sure. 92 00:09:35,399 --> 00:09:39,600 Might carry a gun. Don't think they'd look for a bullet, won't After 93 00:09:39,600 --> 00:09:58,120 you hit that ground, dug up your carpet, confound hobby pittying? Holly, 94 00:10:00,519 --> 00:10:03,399 what fools? We are talking to each other this way is though i'd 95 00:10:03,480 --> 00:10:05,480 do anything to you, or you to me, You're just a little mixed 96 00:10:05,559 --> 00:10:11,519 up about things. In general. Nobody thinks in terms of human beings. 97 00:10:11,159 --> 00:10:15,679 Governments don't. Why should we. They talk about the people and the proletariat. 98 00:10:15,759 --> 00:10:18,399 I talk about the suckers and the mugs. It's the same thing. 99 00:10:18,240 --> 00:10:24,440 They have their five year plans. So I used to believe in God. 100 00:10:26,080 --> 00:10:31,360 Well I still don't believe in God. I don't believe in God and mercy 101 00:10:31,480 --> 00:10:37,039 and all that. But dead are happier dead. They don't miss much here, 102 00:10:37,360 --> 00:10:45,200 poor devils. What do you believe in? Or who? We get 103 00:10:45,240 --> 00:10:48,879 Anna out of this mess? Be kind to her to find she's worth it. 104 00:10:48,440 --> 00:10:52,120 I wish i'd ask you to bring me some of these tablets from home, 105 00:10:52,840 --> 00:10:56,000 Holly. I'd like to cut you in home man. Nobody left, 106 00:10:56,039 --> 00:11:00,679 and then I can really trust and we've always done everything together. When you 107 00:11:00,759 --> 00:11:03,080 make up your mind, send me a message on meet you any place, 108 00:11:03,200 --> 00:11:05,440 anytime. And when we do me though, Man, it's you I want 109 00:11:05,480 --> 00:11:11,799 to see, not the police. Never that won't you don't be so gloomy 110 00:11:11,159 --> 00:11:16,919 after that awful Now, what the fella said Natalie. For thirty years under 111 00:11:16,960 --> 00:11:20,480 the Borges, they had warfare, terror, murder of bloodshed, but they 112 00:11:20,559 --> 00:11:26,120 produced Michelangelolion out of Da Vinci and the Renaissance in Switzerland. They had brotherly 113 00:11:26,200 --> 00:11:30,919 loved five hundred years of democracy and peace. And what did that produce? 114 00:11:31,879 --> 00:11:37,120 The cuckoo clock. It's a lot, Holi. This film was very important 115 00:11:37,200 --> 00:11:41,600 to the career of horse In Wells, as it introduced him to the film 116 00:11:41,720 --> 00:11:46,200 noir genre. This genre would allow him to use his love of lighting, 117 00:11:46,879 --> 00:11:52,720 camera techniques in dialogue to drive a film. You could say that film noir 118 00:11:54,080 --> 00:12:00,919 was set up perfectly for Wells's strengths, as famed director in Wells' biographer Bogdanovich 119 00:12:01,039 --> 00:12:07,120 explains in our final clip, Wells would go on to direct two more harolded 120 00:12:07,240 --> 00:12:11,919 noir films, The Stranger and the Lady from Shanghai, and I'll take a 121 00:12:11,000 --> 00:12:16,039 moment here to argue that his film, The Trial would be classified as neo 122 00:12:16,200 --> 00:12:22,200 noir, a subgenre of film noir. This clip will also tell us Wells's 123 00:12:22,480 --> 00:12:26,960 love for black and white as a medium. I think The Third Man is 124 00:12:26,039 --> 00:12:31,919 probably one of the best, if not the greatest, non o tour films 125 00:12:31,440 --> 00:12:37,600 ever made, where you have this extraordinary coming together of a bunch of really 126 00:12:37,679 --> 00:12:41,879 first rate talents, all working at their top. Graham Green as a writer, 127 00:12:41,320 --> 00:12:46,159 Alex Corda as a producer, Carol Reed as a director, Vienna looking 128 00:12:46,519 --> 00:12:52,000 very photogenic right after the war, Trevor Howard at his best, Orson Wells 129 00:12:52,039 --> 00:12:56,360 certainly at his most mysterious in a role that you know he was born to 130 00:12:56,440 --> 00:13:01,840 play, and Joe Cotton really very American and eloquent, and Alita Valley, 131 00:13:03,120 --> 00:13:07,039 you know, at her most ingrid bergmany Carol Reid is one of those underrated 132 00:13:07,120 --> 00:13:11,440 directors who was highly thought of during his lifetime, but since he's passed away 133 00:13:11,480 --> 00:13:16,120 and nobody much talks about him, probably because the last few films he made 134 00:13:16,159 --> 00:13:18,240 were not among his best, even though they were his most successful. So 135 00:13:18,480 --> 00:13:22,519 Oliver, which won Oscars and so on, isn't exactly a film buffs Delight, 136 00:13:22,679 --> 00:13:28,200 but films like The Third Man or Odd Man Out or the Fallen Idol, 137 00:13:28,080 --> 00:13:31,679 or even outcasts of the Islands, or even the Stars looked Down. 138 00:13:31,799 --> 00:13:35,559 All those films thirty years ago were considered to be classics of the classics of 139 00:13:35,600 --> 00:13:39,879 the English cinema, and you see them again they hold up awfully well. 140 00:13:41,679 --> 00:13:45,080 One of the wonderful things about The Third Man also is this extraordinary black and 141 00:13:45,120 --> 00:13:50,080 white photography that you can feel the wetness in the stones of Vienna. You 142 00:13:50,120 --> 00:13:54,000 know. Orson used to refer to black and white as the actor's friend, 143 00:13:54,759 --> 00:13:56,279 and I said, why do you say that, said, well, he 144 00:13:56,320 --> 00:14:03,399 says, you know, every performance is in black and white. Name me 145 00:14:03,480 --> 00:14:07,000 a great performance in color. I defy you. And you know it is 146 00:14:07,159 --> 00:14:11,879 hard to think of great performances in color. There is something about black and 147 00:14:11,960 --> 00:14:16,440 white. It's the lack of distraction. You don't sit there saying aren't those 148 00:14:16,480 --> 00:14:20,600 blue eyes beautiful? Or isn't that hair color nice? It focuses on the 149 00:14:20,720 --> 00:14:24,879 dramatic. I once said to Orson, welles, my god, that role 150 00:14:24,960 --> 00:14:26,879 of Harry Lyme. You're so great in that picture. And he said, 151 00:14:28,080 --> 00:14:31,279 well, he said, that's the part. It's the greatest star part ever 152 00:14:31,360 --> 00:14:33,559 written. Well, you know what a star part is. He says, 153 00:14:33,559 --> 00:14:35,720 that's where they talk about you for an hour and then you appear. He 154 00:14:35,759 --> 00:14:39,399 says, I did it on the stage one called mister Wu. Everybody for 155 00:14:39,480 --> 00:14:43,960 the first forty five minutes of the play says, you know, but what 156 00:14:43,120 --> 00:14:48,000 will happen when mister Wu gets here? And yes, but what will mister 157 00:14:48,120 --> 00:14:52,360 Wu say about this? And wait till we find out what mister Wu thinks 158 00:14:52,440 --> 00:14:54,559 and all that, and he says, and everybody boils around the stage, 159 00:14:54,559 --> 00:14:58,759 as Orson said, for about almost an hour talking about mister Wo. And 160 00:14:58,799 --> 00:15:03,000 then just at the end of the first act, way in the distance on 161 00:15:03,080 --> 00:15:09,399 the stage, crossing a bridge, comes the small figure of mister Wu, 162 00:15:09,159 --> 00:15:13,879 and everybody goes, ah, mister Wu. And the curtain comes down and 163 00:15:13,919 --> 00:15:16,919 the audience comes out and says, isn't that actor playing mister Wu. Great 164 00:15:18,960 --> 00:15:24,120 Orson said, that's a star part for you. He always said that he 165 00:15:24,240 --> 00:15:28,000 had no influence over the production, except that he wrote that speech about the 166 00:15:28,039 --> 00:15:31,840 cuckoo clock, which is the one speech ability remembers from the picture. But 167 00:15:31,080 --> 00:15:35,960 when I asked him whether he'd influenced Carol Reid, he said, Carol Reid 168 00:15:37,039 --> 00:15:39,600 was a hell of a director and didn't need my opinion. However, I 169 00:15:39,679 --> 00:15:45,840 think it's important to note that the look of The Third Man, and in 170 00:15:46,000 --> 00:15:52,799 fact the whole film would be unthinkable without Citizen Kane, The Stranger, and 171 00:15:52,879 --> 00:15:58,440 The Lady from Shanghai, which Orson made in the forties and all of which 172 00:15:58,519 --> 00:16:03,720 preceded The Third Man. Carol Reid I think was definitely influenced by Orson well 173 00:16:03,720 --> 00:16:07,159 as the director from the films he had made. Whether or not there was 174 00:16:07,200 --> 00:16:11,279 any conscious conversation about shooting things a certain way or not, it probably wasn't 175 00:16:11,440 --> 00:16:15,480 the case because Carol Reid was awfully good and he was a good craftsman, 176 00:16:15,600 --> 00:16:19,000 knew what he was doing. The picture is very daring, very fast cutting, 177 00:16:19,200 --> 00:16:23,759 probably the greatest of the foreign film noirs. You know, it's just 178 00:16:23,840 --> 00:16:30,879 one of those extraordinarily happy accidents, which isn't to be patronizing because Casablancas that 179 00:16:30,000 --> 00:16:34,279 can be called that too. Kind of an extraordinarily happy accident, But when 180 00:16:34,320 --> 00:16:40,240 you see The Third Man it doesn't seem accidental. Everybody, I think knew 181 00:16:40,279 --> 00:16:44,240 what they were doing and it's a great film. The Third Man was highly 182 00:16:44,360 --> 00:16:48,399 regarded upon release. It was the highest grossing film in Britain. In nineteen 183 00:16:48,559 --> 00:16:53,799 forty nine, it won the British Academy of Films Best Picture. It took 184 00:16:53,879 --> 00:17:00,879 home the Palm Dior from Cans In America, it was nominated for three Academy 185 00:17:00,960 --> 00:17:07,200 Awards, including Best Director. It won for Best Cinematography. This film has 186 00:17:07,279 --> 00:17:14,960 become a staple of the film noir genre and most importantly is an example of 187 00:17:15,119 --> 00:17:21,599 the beautiful, over the top performer that Wells was. I hope you join 188 00:17:21,680 --> 00:17:26,480 me next week when our month long tribute towards and Wells concludes with what is 189 00:17:26,599 --> 00:17:33,079 often looked at as his final masterpiece, the nineteen seventy five film f for 190 00:17:33,279 --> 00:17:38,200 Fake for WMNH and Matt Connerton Unleashed. This has been a classic film review 191 00:17:38,279 --> 00:17:56,200 with Eric Pilcher. Come on down to the Hopknot at one thousand Elm Street, 192 00:17:56,400 --> 00:18:00,720 Manchester's premiere Kraft Beer and Gourmet Pretzel Bar, tell us more true. 193 00:18:00,000 --> 00:18:03,480 We make our dough fresh every day. We make a variety of styles of 194 00:18:03,519 --> 00:18:07,599 pretzels and serve craft beer, cocktails and a few bottles of wine. 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Enrich your auditory jury with the depth of our license 237 00:21:51,200 --> 00:21:56,680 to wesdsspent your missives do WMNH ninety five to three at gmail dot com or 238 00:21:56,799 --> 00:22:02,319 traverse the virtual corridors of w MNH Radio door engage with our sonic vibrations by 239 00:22:02,440 --> 00:22:06,960 communing with us through the digital channels or video records. Eager to enthrall you 240 00:22:07,079 --> 00:22:10,720 with its mesmerizing kid incident, villing you with a sym of boundless Ah, 241 00:22:10,799 --> 00:22:41,079 that's Wren's wonder. Don't you nh rip the dolls you could see under my 242 00:22:41,400 --> 00:23:26,960 skin? Scared, but I'll let you in. It's cozy in sid happen. 243 00:23:32,960 --> 00:23:45,279 Don't don't pip me if you could use me song in my soul. 244 00:23:48,319 --> 00:24:07,559 Let me start it softing, go theever go because it time. Know the 245 00:24:07,720 --> 00:25:07,039 counts that, because it never s. I wouldn't hide you so well. 246 00:25:08,119 --> 00:25:14,559 This love's too heavy. Lay it all up in me. Let's make some 247 00:25:14,720 --> 00:26:07,400 colors. I remember morning the colors now that is we're golden and Fox and 248 00:26:07,480 --> 00:26:11,799 the Flamingos is here with us alive in studio. This is Matt Connorton Unleashed 249 00:26:11,799 --> 00:26:15,960 and we are live on this Saturday morning from the studios of wm n H 250 00:26:15,079 --> 00:26:21,000 ninety five point three FM on Canal Street in Manchester, New Hampshire. And 251 00:26:21,480 --> 00:26:26,599 it is April twentieth twenty twenty four, and they are here with us live 252 00:26:26,839 --> 00:26:29,000 making their return to the show. By the way, is that the world 253 00:26:29,119 --> 00:26:33,880 radio premiere of that song the we like the world radio premieres here, all 254 00:26:33,960 --> 00:26:37,319 right, So what we're gonna do Fox on the Flamingos is gonna play live 255 00:26:37,400 --> 00:26:40,319 for us like they did before, but this is the first time here doing 256 00:26:40,680 --> 00:26:44,519 them doing it here at on our new location, at our new location on 257 00:26:44,599 --> 00:26:48,079 Canal Street. So we've got everybody set up. We're gonna see how this 258 00:26:48,200 --> 00:26:51,759 goes. What I'd like to do is and we're going to start with the 259 00:26:51,799 --> 00:26:53,480 gentleman who didn't get to talk last time, but you here. He's in 260 00:26:53,559 --> 00:26:59,680 the corner and he's a radio guy himself. So we're going to what I 261 00:27:00,079 --> 00:27:02,119 like to have everybody do is and we'll start with you. If you can 262 00:27:02,160 --> 00:27:03,559 introduce yourself, tell us who you are, what you do in the band, 263 00:27:03,920 --> 00:27:07,200 and we'll do a quick sound check to make sure that we can hear 264 00:27:07,279 --> 00:27:11,440 your instrument. So go ahead, sir, Yeah, here everyone, My 265 00:27:11,559 --> 00:27:14,440 name is Ryan Pratt. I play drums for Fox and the Flamingos. And 266 00:27:15,759 --> 00:27:18,839 that's it. One to a sound check. Yeah, yeah, go ahead 267 00:27:18,839 --> 00:27:21,920 and go and hit those hit that. What do you call that? A 268 00:27:22,000 --> 00:27:27,000 cohone? So here's the here's the foot pedal, now, oh yeah, 269 00:27:27,079 --> 00:27:36,759 that's coming through. Here's the front. Oh yeah, okay, great, 270 00:27:36,839 --> 00:27:40,079 great, and you sir, Oh, I can't hear you at all. 271 00:27:40,119 --> 00:27:42,960 Hang on, I'm sorry, you'll not hear you at all. Try that 272 00:27:44,000 --> 00:27:48,839 again, Ryan, What is going on here? There we go? I 273 00:27:48,920 --> 00:27:52,839 found I found you. I found you. Hey. I'm Ryan Bossy. 274 00:27:53,240 --> 00:28:00,680 I play keys in the band. Yeah, all right, Carrie, I 275 00:28:00,720 --> 00:28:03,839 don't know if you want to test the keyboard here. Oh yeah, I'm 276 00:28:03,880 --> 00:28:07,160 sorry, yes, that that would probably be a good idea. Let's see 277 00:28:07,400 --> 00:28:17,599 shriek loudly to trying to figure out where you're There we go. Oh that 278 00:28:17,680 --> 00:28:25,240 sounds nice, cool, very good, very good. And you Gary, 279 00:28:26,200 --> 00:28:41,759 Gary Smith, I play bass guitar in the band, trying to figure out 280 00:28:41,759 --> 00:28:51,799 which channel you're on. Okay, that that makes sense, that makes sense. 281 00:28:52,519 --> 00:28:59,559 Okay, there we go. Awesome, Thank you Gary. Oh we 282 00:29:00,119 --> 00:29:06,680 lose you. M hm, you're here somewhere and there we go. There 283 00:29:06,799 --> 00:29:12,000 we go, all right. And Mazie, Hello, my name is Mazie 284 00:29:12,079 --> 00:29:18,960 Ray. I'm the lead singer. Yours is easy to sound check. It's 285 00:29:18,960 --> 00:29:27,000 gotta worry about the voice. All right, and we have Hyler, a 286 00:29:27,039 --> 00:29:30,480 gentleman who's been on the show very recently. In fact, Yes, Tyler 287 00:29:30,559 --> 00:29:37,240 Moran, Alan Moran, welcome back. M hm, sounds good, sounds 288 00:29:37,279 --> 00:29:48,400 good? If do you guys? Do you all wanta before you're you're gonna 289 00:29:48,400 --> 00:29:53,400 play two live songs for us? Correct? I keep losing your your vocal 290 00:29:53,440 --> 00:29:56,640 somehow, keep keep talking around? Right here we go, Test one two, 291 00:29:57,039 --> 00:30:00,480 Test one two. There it is there, it is. Thanks. 292 00:30:00,799 --> 00:30:06,839 Sorry about that. We didn't have the soul thing at the old at the 293 00:30:06,880 --> 00:30:11,799 old place. I'm glad we have it. But all right, do you 294 00:30:11,880 --> 00:30:15,640 wanna do you want to just play? Just play something short to sound check 295 00:30:15,720 --> 00:30:18,119 with first, so I can kind of make sure these levels are good and 296 00:30:18,160 --> 00:30:22,000 then before you play the actual uh songs that you want to perform live today? 297 00:30:22,839 --> 00:30:56,240 Sure sound checks song. Yeah. I can't hear myself anymore. I'm 298 00:30:56,279 --> 00:31:00,279 not going through I can hear. I can hear you. You're not in 299 00:31:00,279 --> 00:31:07,079 your headphones. It's weird, is it loose? Hello? Okay, now 300 00:31:07,119 --> 00:31:11,200 I am I think I'm just really quiet. Bost you up a little bit, 301 00:31:11,759 --> 00:31:17,119 thank you, because they're all, they're all, they all very much 302 00:31:17,160 --> 00:31:19,440 overpower me like all the time. I understand. I love you guys. 303 00:31:23,480 --> 00:31:32,359 It wrought me to sound like a dying more than I already do. Bryan, 304 00:31:32,400 --> 00:31:38,480 can you talk a little more? Yeah one too. Okay, I 305 00:31:38,559 --> 00:31:42,000 think we got I think we got everybody. I think we're good. All 306 00:31:42,119 --> 00:31:48,720 right. So we have Fox on the Flamingos alive in studio on this Saturday 307 00:31:48,759 --> 00:31:52,279 morning. Really looking forward to this and uh yeah, whenever y'all are ready, 308 00:31:52,319 --> 00:31:53,160 and then we I figure if you want to play a couple and then 309 00:31:53,200 --> 00:31:56,519 we'll we'll talk for a bit afterwards. How does that sound? Intro? 310 00:31:57,680 --> 00:32:01,680 So this one is called to Brushing My Table by Grace Potter, and we 311 00:32:01,880 --> 00:32:28,640 love to cover it all right. Came back calling with the dool missing out 312 00:32:28,680 --> 00:32:36,400 of the crowd. Tell me it top my empty bags on the girl, 313 00:32:38,759 --> 00:32:46,079 open this door, come out and I'm not messing around. Can't believe I'm 314 00:32:46,160 --> 00:32:52,759 standing in here. You used to call me Fry, will believe me. 315 00:32:52,839 --> 00:32:59,839 I'll be gone by the time you get it back from work. I'll just 316 00:33:00,279 --> 00:33:06,200 have to do things I don't want to, no want to get. Give 317 00:33:06,279 --> 00:33:09,720 me back myhammer, give me back my nail, give me back my teens 318 00:33:09,799 --> 00:33:15,119 and machajaco, give me back my box with the colder nch cable, and 319 00:33:15,240 --> 00:33:35,200 don't forgive my truck bro and my table. You by a good things going 320 00:33:35,319 --> 00:33:40,559 on? Would you want to take you away? The non be some one 321 00:33:40,680 --> 00:33:49,000 goes dirty business, so they say, I don't wanna tell you wrong, 322 00:33:49,079 --> 00:33:54,119 but here we are, pays the face. Oh I'm sure, I'm glad. 323 00:33:54,279 --> 00:34:01,160 I don't have to hang around this. Please well bing me baby the 324 00:34:01,319 --> 00:34:08,239 same bumpigu with me neither, So get out of my way, all stop 325 00:34:08,360 --> 00:34:15,679 blessing cats, grass fever, Give me back Comma, give me back my 326 00:34:15,840 --> 00:34:20,280 name, give me back my teens and must say take care, give me 327 00:34:20,400 --> 00:34:23,360 back my backs with the code of ridge cables, and don't become my tool 328 00:34:23,519 --> 00:34:43,360 first and my table. I don't care which way you think, Stormy my 329 00:34:43,480 --> 00:34:50,199 out of witch. I've already recollected all the love I wish I had, 330 00:34:50,280 --> 00:34:59,119 not spin the marry. Who knows I'll pay more than myself of the rich. 331 00:35:00,199 --> 00:35:02,880 There ain't nothing in my heart for you. It's up a big old 332 00:35:04,480 --> 00:35:08,320 dance, trying to put it down, trying to tear it up, and 333 00:35:08,440 --> 00:35:15,559 trying to give me a gold. I just need a few things for the 334 00:35:15,760 --> 00:35:21,800 road, then I'll be Yeah, give me back my emma, give me 335 00:35:21,960 --> 00:35:25,719 back my nail, give me back my cheese and my chase headcat, give 336 00:35:25,800 --> 00:35:30,599 me back my bax with to go to rens cables, and don't become my 337 00:35:30,719 --> 00:35:53,199 toothbrush in my table. I love you. Give me back my hammer, 338 00:35:53,639 --> 00:35:59,880 give me back my nail, give me back my jeans and let tachakecam give 339 00:35:59,960 --> 00:36:06,079 me back my box with the go to its cable and don't begin the table. 340 00:36:12,760 --> 00:36:17,360 That was fantastic, fantastic. Fox and the Flamingos live in studio and 341 00:36:17,599 --> 00:36:22,159 uh, who does that song again? Grace Potter. Grace Potter. He's 342 00:36:22,199 --> 00:36:24,960 one of my biggest influences ever. Grace Potter and the Nocturnals. Yeah, 343 00:36:25,000 --> 00:36:30,559 okay, okay, so incredible, very cool, very cool. Yeah yeah, 344 00:36:30,559 --> 00:36:36,320 I think so. Actually, Pete's worked with Grace our sound guy our 345 00:36:37,920 --> 00:36:42,079 Oh okay, pell Quin of Board's house production. Oh, very cool, 346 00:36:42,199 --> 00:36:45,239 very cool. I know you wanted to do too. Do you want to 347 00:36:45,280 --> 00:36:47,599 do another one? I'm I'm feeling anxious to get to the next one while 348 00:36:47,599 --> 00:36:52,639 I've got the levels actually where I think they're okay, because that's a that's 349 00:36:52,679 --> 00:36:55,079 a challenge. But if you want to play another one, and then what 350 00:36:55,199 --> 00:36:58,880 we can We can talk for a few minutes afterward and get caught up on 351 00:36:59,199 --> 00:37:00,800 everything you got go? How does that sound if we do? Isn't she 352 00:37:00,920 --> 00:37:07,800 lovely? Last? Yeah? Yeah, crazy cool perfect? All right, 353 00:37:07,840 --> 00:37:12,559 there's another cover. It's our taking on a queen song. Okay, very 354 00:37:12,599 --> 00:37:15,440 cool, very cool Fox on the Flamingos live in studio with us today. 355 00:37:21,559 --> 00:37:30,960 This thing couple. I just can't handle this thing coda. I must getting 356 00:37:30,960 --> 00:37:44,400 around too bad. This thing guys and a griddle like a baby on that 357 00:37:44,719 --> 00:37:49,880 its wings, it dives and it shakes. Ang Lord, I can tell 358 00:37:49,920 --> 00:38:01,480 you this that goes my baby as a rock and rob. See it doesn't 359 00:38:01,559 --> 00:38:07,840 me, Crazy sees me how and cold fever knows me in a cuckool sweat. 360 00:38:13,639 --> 00:38:20,840 I gotta be cool glad get again on my times and they got back, 361 00:38:22,480 --> 00:38:47,320 take a long ride on my mother bikes on my day. Crazy there 362 00:38:47,519 --> 00:38:53,639 goes up there. Wow, she knows how to rocket bo See it doesn't 363 00:38:53,679 --> 00:39:00,960 mean a crazy singing me, hot and cold fevers me and cuckoo sweat. 364 00:39:05,960 --> 00:39:17,639 Gotta be cool again. I'm take a digo vacca sing along by get Ready, 365 00:39:19,679 --> 00:39:46,960 Crazy Little very Cool Fox on the Flamingos a live in studio with us 366 00:39:47,239 --> 00:39:53,119 on this Saturday morning here on Matt Connorton Unleashed sounding fantastic. By the way, 367 00:39:53,159 --> 00:39:55,239 the studio line is open, so if you have any questions or anything 368 00:39:55,280 --> 00:39:58,199 for the band, you can give us a call. Six oh three two 369 00:39:58,239 --> 00:40:02,639 five oh six oh oh seven? So three two five six seven And uh 370 00:40:02,800 --> 00:40:05,880 so, what's been going on with y'all? What what have you been up 371 00:40:05,880 --> 00:40:08,199 to since the last time you were on? Oh my goodness, so much? 372 00:40:08,840 --> 00:40:12,480 Yeah, yeah, fill us in. So the first thing I would 373 00:40:12,559 --> 00:40:15,599 like to say is like, uh, a dream of mine came true, 374 00:40:15,840 --> 00:40:20,639 and like, I just am so grateful to all of my bandmates. All 375 00:40:20,679 --> 00:40:27,719 of you guys are amazing for putting up with my my stuff dreamt not swearing 376 00:40:27,800 --> 00:40:32,679 on air, And well, I mean we won this Battle of the bands 377 00:40:34,280 --> 00:40:39,519 recently at Hawks and Reed and Greenfield, Mass Congratulations and thank you. It 378 00:40:39,679 --> 00:40:46,199 was such a crazy night and we are playing because of that a cabin set 379 00:40:46,360 --> 00:40:52,280 at Strange Creek camp out Okay, And it's my favorite festival of all time. 380 00:40:52,719 --> 00:40:57,960 It's put on by Warmtown Trading Posts out in Greenfield and they're so amazing. 381 00:40:59,320 --> 00:41:02,599 It's and all of the other bands were amazing, The Chops, Cosmic 382 00:41:02,679 --> 00:41:07,199 Blossom, Hopefield, General Store, Faith and Band and Dog Eate Dog, 383 00:41:07,440 --> 00:41:13,119 all incredible bands that were just so amazing, And so it was. It 384 00:41:13,239 --> 00:41:15,159 was a really great night of like great music and great people, every one 385 00:41:15,199 --> 00:41:20,960 of them. Yeah, yeah, really was a wild night. And and 386 00:41:21,400 --> 00:41:24,159 Mazet isn't building this up enough, you know, she's she's saying it's her 387 00:41:24,239 --> 00:41:28,639 dreams and it's there's a reason why, you know that this is a big 388 00:41:28,719 --> 00:41:31,800 deal, this getting into this festival, being even associated with this festival. 389 00:41:32,400 --> 00:41:37,320 There's thousands of people there every year, and it's a really good opportunity for 390 00:41:37,480 --> 00:41:39,320 us to really get our name out there, get our sound and our songs 391 00:41:39,360 --> 00:41:43,679 out there. So, uh, what you know, I'm sure, as 392 00:41:43,760 --> 00:41:45,599 you know, in this business, it's all about who you know, and 393 00:41:46,159 --> 00:41:50,519 it's tough to break in. So winning this Battle of the bands was a 394 00:41:50,599 --> 00:41:52,960 big, a big ice breaker, if you will. For Fox and Flamingos, 395 00:41:52,960 --> 00:41:57,559 we're now on the scene. You know, I've been talking to them 396 00:41:57,599 --> 00:42:00,880 about playing this festival for since we got together, like since we very first 397 00:42:00,960 --> 00:42:05,440 got together, and they were like, what the heck? That tell where 398 00:42:05,440 --> 00:42:07,360 the dream started? Oh, so well. I mean when I was eighteen, 399 00:42:07,480 --> 00:42:10,000 I was in kind of like a really bad headspace and my bad my 400 00:42:10,079 --> 00:42:14,320 buddy she invited me to this festival and I was like, you know, 401 00:42:14,480 --> 00:42:17,320 why not. I've never been to a festival. And it was life changing, 402 00:42:17,599 --> 00:42:22,039 Like it literally changed the entire trajectory of my life, I feel, 403 00:42:22,119 --> 00:42:24,920 because I got there and instantly I was like I need to be here all 404 00:42:25,000 --> 00:42:29,880 the time. Yeah. Yeah, And I remember being in a cabin and 405 00:42:30,119 --> 00:42:30,880 looking at my best friend and being like, I'm going to be on that 406 00:42:30,920 --> 00:42:34,119 stage one day and she was like, yeah, you are. And it's 407 00:42:34,199 --> 00:42:40,039 crazy because like I didn't know what actually happened gave me. But I'm really 408 00:42:40,079 --> 00:42:44,679 excited and we have a lot of new music coming as well. We're working 409 00:42:44,719 --> 00:42:47,639 on an album that we're going to be releasing by the summer. Yeah, 410 00:42:47,639 --> 00:42:51,480 I'm sorry. We're pretty close. We're very close. We have one song 411 00:42:51,599 --> 00:42:54,679 that actually we're going to be recording next Tuesday. It's our newest one background 412 00:42:55,280 --> 00:42:59,639 and another song in the Bank and another one on the bank called Home at 413 00:42:59,679 --> 00:43:02,639 the Creek get Ready to Sneak Peak, Sneak Peak at the Home of the 414 00:43:02,679 --> 00:43:07,119 Creek, So that track, We're Golden that we played. Is that that's 415 00:43:07,159 --> 00:43:13,000 on the new Yeah, that's our most recently finished mixed and master tune. 416 00:43:13,559 --> 00:43:15,599 We used Pete Pelliquin from Boards House Production, so ou to Brookline, New 417 00:43:15,639 --> 00:43:20,280 Hampshire. Pete's a master. Yeah, wonderful, He's a master. You 418 00:43:20,360 --> 00:43:23,480 know we what what what takes bands months to do? Pete dozen three days? 419 00:43:23,719 --> 00:43:27,960 Wow? So he's uh, he's he's a genius for sure. Did 420 00:43:28,000 --> 00:43:30,719 he also produce the previous He's produced all of our tracks so far. We're 421 00:43:31,199 --> 00:43:35,920 we're kind of, i think unspokenly, just kind of giving him this this 422 00:43:36,039 --> 00:43:38,800 first album, you know, just we're gonna stick with you because he's formulating 423 00:43:38,840 --> 00:43:42,960 our sound and it's coming out really really good. What was he in that 424 00:43:43,119 --> 00:43:46,039 role from the beginning or because sometimes you know, it happens organically where someone's 425 00:43:46,280 --> 00:43:51,079 working as an engineer on your music and then they sort of become a producer 426 00:43:51,159 --> 00:43:54,360 de facto producer. Well, I've known Pete since I was like yay hi, 427 00:43:54,599 --> 00:43:59,719 Like my mother knows him very well. And when I started singing, 428 00:44:00,119 --> 00:44:02,880 which has been forever, I was probably like fifteen years old. He told 429 00:44:02,920 --> 00:44:06,280 my mom, when she's ready one day, I want to record her for 430 00:44:06,440 --> 00:44:13,559 free. And then I got we got this band together, and he was 431 00:44:13,679 --> 00:44:16,239 like, yeah, whenever you guys are ready, And he actually did our 432 00:44:16,320 --> 00:44:20,920 first couple on the house, and that was really cool. I'd known Pete 433 00:44:20,960 --> 00:44:23,079 from from just music scene. He was in a couple of bands, and 434 00:44:23,360 --> 00:44:28,239 you know, he tours it with you know, Bad Fish and Roots of 435 00:44:28,280 --> 00:44:32,239 Creation and all that kind of stuff. But I know those guys and and 436 00:44:32,440 --> 00:44:35,360 so you know you, like I said, it's all about who you know, 437 00:44:35,440 --> 00:44:37,800 you meet people or whatever. So I'd known Pete for a while. 438 00:44:37,199 --> 00:44:42,159 So when you heard that May's was in the band, I'm sure he messaged 439 00:44:42,280 --> 00:44:44,840 her as well or you know whatever, but he messaged me. He goes 440 00:44:45,079 --> 00:44:46,559 soon, he goes, you know, heard you're in a band with Mace, 441 00:44:47,039 --> 00:44:50,480 And I was like, yeah, it's going so super good so far. 442 00:44:50,559 --> 00:44:52,559 And we started off just writing or doing covers, you know, just 443 00:44:52,599 --> 00:44:55,320 playing covers because we knew we needed to build a base. We wanted to 444 00:44:55,320 --> 00:44:58,880 play bars and clubs just to get out there and you know whatever. So 445 00:44:59,440 --> 00:45:01,639 learned a little art of covers and to get ourselves through a three hour night. 446 00:45:01,800 --> 00:45:05,480 Yeah, but Pete goes, you guys ever started to write songs. 447 00:45:05,679 --> 00:45:08,679 I want to record you so and he's he just reached out. He kind 448 00:45:08,679 --> 00:45:13,280 of grappled us from the beginning, and we didn't give us a choice to 449 00:45:13,280 --> 00:45:16,920 go anywhere else. Thanks Pete. Yeah, and all of our friends actually, 450 00:45:16,960 --> 00:45:21,679 like my buddies shout out to Rabbit's Foot, that's my buddy's band. 451 00:45:21,960 --> 00:45:25,719 They record with them, and they actually released their live album recently, Like 452 00:45:25,880 --> 00:45:31,960 they are awesome, and he just it's cool because like it's interesting how like 453 00:45:32,079 --> 00:45:37,440 you become friends with everybody in the direct circle that's around you as far as 454 00:45:37,559 --> 00:45:40,039 music goes. Yeah, yeah, and that's actually how we got into trout 455 00:45:40,079 --> 00:45:45,440 Stock because we have a lot of mutual friends with me on trout another great 456 00:45:45,480 --> 00:45:49,320 band, and they shout out to Roger for getting us onto trout Stock twenty 457 00:45:49,360 --> 00:45:52,800 twenty four. We'll be there on Thursday at five thirty. Yeah, the 458 00:45:52,079 --> 00:45:57,920 opening night of trout Stocks in July. Okay, the opening night we play 459 00:45:57,920 --> 00:46:00,920 at five thirty and it's a we've been told, so that's the The opening 460 00:46:00,000 --> 00:46:04,159 night's got a good turnout too. But good trust Stock is another one of 461 00:46:04,199 --> 00:46:07,760 those Western Massachusetts festivals you know that draws a lot of a lot of good 462 00:46:07,800 --> 00:46:10,159 bands, a lot of crowd you know a lot of people that are that 463 00:46:10,280 --> 00:46:14,719 are really into into original music. Yeah. Yeah, so oh very cool, 464 00:46:14,920 --> 00:46:19,079 very cool. Oh I don't know why I can't hear you Ary, 465 00:46:19,119 --> 00:46:22,079 let me boot boost that all that. Oh, that's part of the problem, 466 00:46:22,159 --> 00:46:28,559 you're drooping. We're doing a bunch of gigs just around. Yeah. 467 00:46:28,599 --> 00:46:34,519 We have probably twenty five beyond that this year. Okay, we got we 468 00:46:34,639 --> 00:46:37,599 got a website. Yeah, everything's on there Fox dot com. Yeah, 469 00:46:37,760 --> 00:46:40,199 sign up for the mailing list. Yeah. We pretty much have a residence 470 00:46:40,239 --> 00:46:45,639 at the Peddler's Daughter in Nashua or local haunts. Yeah, oh excellent. 471 00:46:45,960 --> 00:46:47,559 It's I mean it's they still got a good late night scene and they got 472 00:46:47,599 --> 00:46:51,079 people to come out and dance and party and have fun. And yeah, 473 00:46:51,280 --> 00:46:52,400 it helps keep our chops fresh, you know what I mean, No matter 474 00:46:52,480 --> 00:46:54,760 what, no matter what it is, it's like if we're working on new 475 00:46:54,800 --> 00:46:59,199 originals, that's where we play them live. Yeah. Yeah, that's it's 476 00:46:59,199 --> 00:47:00,320 a good it's a great, you know, great outlet. And shout out 477 00:47:00,320 --> 00:47:04,599 to John and the Stafford Pets. Yeah, they're super good to us there 478 00:47:04,679 --> 00:47:08,159 for sure. Yeah. And then the Brick House Restaurant in Milford, New 479 00:47:08,159 --> 00:47:12,639 Hampshire, you know, we're still playing out there Riley's Place. Uh, 480 00:47:12,800 --> 00:47:15,599 small little place, but man, they got kick ass music scene there. 481 00:47:15,119 --> 00:47:19,199 They really care, you know. They they got a nice house sound system 482 00:47:19,239 --> 00:47:22,280 and was great. Where's where is that? A long time ago? It 483 00:47:22,360 --> 00:47:25,119 used to be the Colonel Shepherd House. It was a you know, bar 484 00:47:25,199 --> 00:47:29,559 and restaurant. It's it's like I said, it's t little. It's in 485 00:47:29,679 --> 00:47:31,960 like the first floor of a house built in the seventeen hundreds. You know, 486 00:47:32,000 --> 00:47:36,280 I was wondering where it came out of nowhere. Yeah, it's been 487 00:47:36,320 --> 00:47:38,559 there forever, but it's been like four different things. So it's finally a 488 00:47:38,639 --> 00:47:44,559 place that's harnessing musical talent and excellent. Yeah, excellent, very good, 489 00:47:44,639 --> 00:47:46,639 very so, even even with recording, because obviously you've been working on an 490 00:47:46,679 --> 00:47:51,360 album, but you're still playing out really consistently too, So that's great. 491 00:47:51,519 --> 00:47:55,599 That's excellent, excellent. And then the album July is kind of the the 492 00:47:55,679 --> 00:48:01,440 ETA. It sounds like I'm hoping. So we we're all very critical of 493 00:48:01,519 --> 00:48:12,559 ourselves, and especially me and mister drummer Pratt. So yeah, it's kind 494 00:48:12,599 --> 00:48:15,000 of like it takes us a little bit to kind of you know, get 495 00:48:15,039 --> 00:48:21,159 it all. Nailed down, but I'm excited about it by the way, 496 00:48:21,960 --> 00:48:23,679 you know, I don't know. We want to announce what we're releasing. 497 00:48:25,159 --> 00:48:30,320 Oh announced, okay, so let's get let's if it's okay, we'll get 498 00:48:30,440 --> 00:48:34,119 like a thirty seconds of backstory here. So yeah, uh, the uh, 499 00:48:36,079 --> 00:48:40,079 some of us believe in and putting you know that patience is a virtue 500 00:48:40,239 --> 00:48:45,880 and putting together a compilation of songs is an expression of you as an entire 501 00:48:45,960 --> 00:48:47,920 band. Yeah, and that like all at once, that ritual, that 502 00:48:49,079 --> 00:48:52,679 ritual of building an album, releasing an album, and having the listener be 503 00:48:52,800 --> 00:48:57,679 able to go through your selection and your expression all in one kind of thing. 504 00:48:58,280 --> 00:49:00,960 I think that that's you know what some of us think that that's a 505 00:49:00,760 --> 00:49:07,360 valuable thing to do. And then the rest of us and even I know 506 00:49:07,440 --> 00:49:13,800 I'm speaking of myself as holding that that value of releasing an album and Tyler, 507 00:49:14,719 --> 00:49:16,599 but in every in every one of us now that you know, I'm 508 00:49:16,599 --> 00:49:21,960 coming around to the idea understands the world that we live in this day and 509 00:49:22,360 --> 00:49:28,800 and uh, it's all about pumping media out regularly, record it and release 510 00:49:28,840 --> 00:49:30,760 it, record it and release it. So the more you can get out 511 00:49:30,800 --> 00:49:35,159 there, the more you stay irrelevant and fresh in people's minds just because there's 512 00:49:35,360 --> 00:49:38,800 so much out there, and so we're kind of changing our tune and and 513 00:49:39,159 --> 00:49:44,000 uh, you know, we've we I've been doing some research pros and cons, 514 00:49:44,519 --> 00:49:47,360 and it seems that there are there are definitely some pros to to dropping 515 00:49:47,440 --> 00:49:51,960 singles from your from your album prior to your album release. So it seems 516 00:49:52,000 --> 00:49:55,039 like we're gonna be able to get best of both worlds. So we have 517 00:49:55,760 --> 00:50:00,800 a tune called the Water, which I think we're gonna, uh, well, 518 00:50:00,920 --> 00:50:02,159 you're going to play for us man that the one we're going to release. 519 00:50:04,280 --> 00:50:07,719 Was it Water or A Stranger? Like, okay, so the song 520 00:50:07,760 --> 00:50:14,000 that you play, Okay, we're deciding. Wow, I was just confused. 521 00:50:14,079 --> 00:50:16,519 I had the Water on my mind, but you're right, I for 522 00:50:16,639 --> 00:50:21,880 some reason, because we heard Matt playing Don't Be a Stranger when we walked 523 00:50:21,920 --> 00:50:24,280 in, I was like, Oh, it's already out there right now. 524 00:50:24,920 --> 00:50:28,559 So yeah, Matt, right now, you're the only person that has Don't 525 00:50:28,599 --> 00:50:35,119 Be a Stranger. That's great. So so yeah, so the week the 526 00:50:35,239 --> 00:50:38,719 Monday before we play Strange Creek, which is Saturday, May twenty fourth, 527 00:50:39,400 --> 00:50:45,239 we play from eleven thirty to one thirty AM eleven thirty. That's our Strange 528 00:50:45,320 --> 00:50:50,639 Creek Cabin set. The Monday before we are going to uh, we're going 529 00:50:50,719 --> 00:50:52,880 to release Don't Be a Stranger. Awesome, awesome. We got some new 530 00:50:53,039 --> 00:50:58,800 T shirts too. Oh good. It says on the right side, on 531 00:50:58,920 --> 00:51:00,960 the right front like near heart, you know your heart's on the left side. 532 00:51:01,239 --> 00:51:07,079 It's on the left shirt. It's on the right, but the person 533 00:51:07,159 --> 00:51:10,239 wearing it, it says don't be a Stranger. And then on the back 534 00:51:10,320 --> 00:51:15,280 it's got our little go and cool. Yeah, I'm excited. We we 535 00:51:15,559 --> 00:51:21,320 we kind of made this agreement that every thousand followers we get, we're going 536 00:51:21,400 --> 00:51:23,599 to do a giveaway, a little merch bundle, so like T shirt sticker, 537 00:51:23,880 --> 00:51:34,639 Oh cool, And that's followers on Facebook, Instagram. Yeah. I 538 00:51:34,760 --> 00:51:37,320 always say that song, Don't Be a Stranger. You know, I play 539 00:51:37,400 --> 00:51:39,960 it often on the show, and I always say, both on and the 540 00:51:40,000 --> 00:51:43,440 off in the off air, I've said, you've got to hit there, 541 00:51:43,519 --> 00:51:45,880 you really do. It's such a great song. I mean, I like 542 00:51:45,920 --> 00:51:47,800 everything you do, but that's such a great song. And by the way, 543 00:51:47,880 --> 00:51:51,079 so the other two studio tracks you sent me, we're going to play 544 00:51:51,119 --> 00:51:53,639 both of those at the end of the segment. The time goes fast, 545 00:51:53,679 --> 00:51:59,400 it's it's already getting close to eleven. But but I do want to play 546 00:51:59,440 --> 00:52:02,920 both of those as we bridge to the The next guest, The Whole Loaf 547 00:52:04,000 --> 00:52:06,920 is going to be coming in for the third hour today. You know them, 548 00:52:07,000 --> 00:52:10,119 Yeah, yeah, yeah, very cool. Yeah, so they're gonna 549 00:52:10,119 --> 00:52:15,000 be on with us. But but I'm actually going to play both of those 550 00:52:15,360 --> 00:52:20,599 tracks. But mentioning one of those tracks is just a live direct one that 551 00:52:20,800 --> 00:52:23,719 was the one. So that's the one we're actually recording, kind of like 552 00:52:23,760 --> 00:52:28,800 a little teaser that direct at the last show, okay, wondering what we 553 00:52:28,920 --> 00:52:30,559 sound like live. Yeah, so that's an idea of that, but it's 554 00:52:30,719 --> 00:52:34,800 not the that's what we're recording. Okay, next week in the studio, 555 00:52:35,039 --> 00:52:39,039 Okaya, it has already been recorded water Okay, So we'll play Water and 556 00:52:39,079 --> 00:52:42,199 then we'll play the other one too. I'm going to play them back to 557 00:52:42,280 --> 00:52:45,039 back at the end of the the end of the segment. Yeah, yeah, 558 00:52:45,280 --> 00:52:46,559 no, I really like I really like everything you guys are doing. 559 00:52:46,760 --> 00:52:51,480 So where where so where is the next show? Where's your next live show? 560 00:52:51,519 --> 00:52:52,639 That you want to make sure people know about Our next show is at 561 00:52:52,679 --> 00:53:05,119 the brick House. Brick House Perry forgetting that all squared away business now with 562 00:53:08,880 --> 00:53:14,360 nice excellent, excellent, and then on the tenth will be at the brick 563 00:53:14,400 --> 00:53:17,559 House. So that's another back to back weekend for shows. Okay, very 564 00:53:17,599 --> 00:53:22,920 good, very good. The eleventh, so we're at the Shoskine on the 565 00:53:22,000 --> 00:53:25,360 ninth Soul Night with DJ Myth, which is a lot of fun. Yeah, 566 00:53:25,400 --> 00:53:29,199 it's super fun. If y'all are in the Manchester area, come out 567 00:53:29,239 --> 00:53:32,039 to the Shascine on funking Soul Night. Sean Caliber will be there. DJ 568 00:53:32,239 --> 00:53:37,679 Myth's been in track and then Little collab with them and then we'll get up 569 00:53:37,719 --> 00:53:40,840 and yeah, we'll get up in jam a set. Very good, very 570 00:53:40,880 --> 00:53:45,519 good. Oh we should mention too, we'd be remiss. I I forgot 571 00:53:45,280 --> 00:53:50,360 someone's uh, someone wants to say to somebody. Guess we actually have a 572 00:53:50,719 --> 00:53:54,880 very special listener today. Her name is Kathy Pratt. So I just wanted 573 00:53:54,920 --> 00:54:01,599 to say, hi, mom, Hi, missus. I I heard a 574 00:54:01,639 --> 00:54:07,719 little bird tells me that she really enjoys our commercial spots. She feels there, 575 00:54:07,960 --> 00:54:10,440 she feels they're they're well produced, and she likes the sequence of them. 576 00:54:14,280 --> 00:54:16,079 Yeah, yeah, I don't know where I heard that, but yeah, 577 00:54:16,119 --> 00:54:21,079 somebody somebody told me. Uh so, Patty Pratt. Very good, 578 00:54:21,199 --> 00:54:23,519 very good. Well listen we will we got to begin to wrap up. 579 00:54:23,960 --> 00:54:25,840 Like I said, the time goes fast. It is already almost the top 580 00:54:25,840 --> 00:54:29,559 of the r I'm going to play both of those tracks though. Fox and 581 00:54:29,639 --> 00:54:35,800 the Flamingos thank you all for joining us. Absolutely no, and you sound 582 00:54:35,840 --> 00:54:38,880 amazing live so really great to uh hopefully the recording came out well the first 583 00:54:38,920 --> 00:54:43,320 time doing quite quite such this production. In this room here here in the 584 00:54:43,360 --> 00:54:46,119 new studio. It's great in here. Yeah yeah, it's like I always 585 00:54:46,119 --> 00:54:50,639 say, you know, it's it's new, it's clean, and now that 586 00:54:50,679 --> 00:54:52,440 there's a sign on the building, hopefully fewer people will show up looking for 587 00:54:52,519 --> 00:54:58,519 bus tickets. I don't know if you, uh ye are aware of the 588 00:54:58,559 --> 00:55:04,559 situation there, but so everybody, uh listening, stick around. We've got 589 00:55:04,599 --> 00:55:07,280 the whole low Fu coming up third hour. But uh, here it is. 590 00:55:07,280 --> 00:55:10,360 We're gonna play this. This is the water from Fox and the Flamingos. 591 00:55:10,519 --> 00:56:53,719 Check this out. Oh you're a doorbells that dam way didn't I do 592 00:56:54,199 --> 00:57:08,880 know? This was away Wednesday, the my doulture of say the day always 593 00:57:09,000 --> 00:57:17,559 on the set the yellow sis into the moshat. If you want through your 594 00:57:17,760 --> 00:57:46,519 rod through those still listen if you feel like stop the lady t F I 595 00:57:46,599 --> 00:57:52,679 can believe me, al what a ways I talk about that, just close 596 00:57:55,239 --> 00:58:20,920 the battle. Oh gosh, my rib tie, oh my worries die, 597 00:58:21,559 --> 00:58:46,119 mister William. It's like, well go now ss be me, mister w 598 00:58:52,239 --> 00:58:57,519 lo a girl sing day your father like the billy. You'll still get me. 599 00:58:57,719 --> 00:59:14,480 Anyways, I don't about that, just wai. It did not mounted 600 00:59:14,639 --> 00:59:27,679 me bad. Me do not know that. I'm reading some that did Bingley 601 00:59:30,880 --> 00:59:57,239 concluding and putting mound and we do that