1 00:00:00,760 --> 00:00:03,160 Speaker 1: W MNH rip the novels. 2 00:00:06,599 --> 00:00:12,800 Speaker 2: You're listening to Mattconnorton Unleashed on wmnh nwenty five point. 3 00:00:12,439 --> 00:00:16,640 Speaker 3: Three right now the world radio premiere of the debut 4 00:00:16,760 --> 00:00:21,679 single from Moving On coming out February twenty seven. Absolutely, 5 00:00:41,479 --> 00:00:44,880 it's the end as we know. 6 00:00:45,240 --> 00:00:50,799 Speaker 4: It's in faiting now for a few it's Simmons. 7 00:00:52,280 --> 00:00:55,799 Speaker 5: You know it's a like voice and child is I'm 8 00:00:55,799 --> 00:00:57,960 going on my stay by going box a U. 9 00:00:58,439 --> 00:01:04,040 Speaker 4: You know that I wouldn't fit twice and as I see. 10 00:01:03,799 --> 00:01:04,439 Speaker 6: It out. 11 00:01:06,400 --> 00:01:09,079 Speaker 7: Off say b the fun. 12 00:01:11,480 --> 00:01:13,719 Speaker 6: I'm thinking all the face. 13 00:01:15,840 --> 00:01:17,959 Speaker 5: Would I have respeed. 14 00:01:17,280 --> 00:01:31,000 Speaker 4: All moments side with the moon stars? 15 00:01:31,560 --> 00:01:38,599 Speaker 8: Are you busics? We sill get along so well? And 16 00:01:38,840 --> 00:01:42,359 now you acting no it never. 17 00:01:45,519 --> 00:01:47,599 Speaker 5: I rode into her some day. 18 00:01:49,040 --> 00:01:59,599 Speaker 9: I you can god reting, I would have respeed over 19 00:02:00,079 --> 00:02:00,799 all out. 20 00:02:00,959 --> 00:02:13,840 Speaker 5: Sousy and his I sis. 21 00:02:14,560 --> 00:02:19,840 Speaker 8: I'm thinking old things. 22 00:02:17,840 --> 00:02:25,560 Speaker 6: That we missed out and now it seems. 23 00:02:25,000 --> 00:02:30,840 Speaker 5: Turney like week the world's fast. 24 00:02:33,120 --> 00:02:37,719 Speaker 10: And now inside him alone wing. 25 00:02:37,240 --> 00:02:40,280 Speaker 5: Weening horrible so long. 26 00:02:42,639 --> 00:02:46,840 Speaker 6: And if I see out they. 27 00:02:47,240 --> 00:02:49,639 Speaker 7: Up saying bout the ball. 28 00:02:52,319 --> 00:02:57,159 Speaker 8: I'm thinking all the things. 29 00:02:56,639 --> 00:02:58,639 Speaker 6: Who Harris died all for? 30 00:03:05,439 --> 00:03:09,520 Speaker 5: She slides with the broom stars. 31 00:03:12,360 --> 00:03:20,639 Speaker 8: Pusydusdays we get along so wealth and now you're acting 32 00:03:20,840 --> 00:03:23,280 nice it everybody. 33 00:03:26,319 --> 00:03:32,840 Speaker 11: I run into her some day I use the ditic 34 00:03:35,919 --> 00:03:37,319 how would arrested over? 35 00:03:39,960 --> 00:03:58,479 Speaker 12: When Mats wakes up in the morning, he gets into 36 00:03:58,520 --> 00:04:03,599 the shower, into the top of his lungs, he sings. 37 00:04:04,919 --> 00:04:09,919 Speaker 7: The mat, I do what I want because I can't. 38 00:04:09,599 --> 00:04:14,319 Speaker 13: Get all right. Back to the radio show. Now all 39 00:04:14,439 --> 00:04:26,240 the best jammy. 40 00:04:29,360 --> 00:04:37,360 Speaker 14: He's poison in the lead in the Lord, Lead in 41 00:04:37,560 --> 00:04:38,879 the Lord. 42 00:04:39,120 --> 00:04:41,680 Speaker 13: If we believe news. 43 00:04:43,319 --> 00:04:47,839 Speaker 15: Nine miles high, there's a cion sky. 44 00:04:49,040 --> 00:04:52,920 Speaker 6: They see his side laid on b the view. 45 00:04:57,639 --> 00:05:05,920 Speaker 10: Travelers nice, so please see the sun shine seems so fin. 46 00:05:07,000 --> 00:05:19,160 Bit say you say with me, just say be by 47 00:05:19,759 --> 00:05:20,680 my side? 48 00:05:44,920 --> 00:05:50,160 Speaker 15: Seen morning and they see you in the dark. 49 00:05:50,680 --> 00:05:56,600 Speaker 8: And y'all wait there if you say it up time. 50 00:05:58,519 --> 00:06:03,279 Speaker 16: Nine miles half electric gets the night. 51 00:06:04,160 --> 00:06:07,800 Speaker 6: Live anywhere and everywhere your. 52 00:06:11,959 --> 00:06:18,759 Speaker 10: I try, but it's nice, so easy, the sun shine 53 00:06:19,160 --> 00:06:29,680 see you so fine? I say, you say with me, 54 00:06:30,800 --> 00:06:32,959 just say you'll. 55 00:06:32,759 --> 00:08:15,639 Speaker 15: Speak by my side. 56 00:07:30,279 --> 00:07:31,639 Speaker 7: That tribe. 57 00:07:31,680 --> 00:07:38,759 Speaker 6: But it's not so easy. Sun shine seems. 58 00:07:38,160 --> 00:07:40,519 Speaker 13: So fun me. 59 00:07:43,439 --> 00:07:46,439 Speaker 17: I say, if you say. 60 00:07:47,399 --> 00:08:01,399 Speaker 10: With me, just say with me by my side. 61 00:08:08,240 --> 00:08:11,120 Speaker 3: I love that. That is nine miles High. The band 62 00:08:11,199 --> 00:08:14,439 is Howling Hawk, and uh, let's see who we have 63 00:08:14,959 --> 00:08:17,839 from the band on the line with us a via WhatsApp. Hello, 64 00:08:17,959 --> 00:08:21,839 welcome to the show. Hi, thanks for having me absolutely 65 00:08:22,279 --> 00:08:23,600 So who is this? Who do we have on the 66 00:08:23,600 --> 00:08:24,120 line with us? 67 00:08:24,959 --> 00:08:27,759 Speaker 1: So this is Jim. I'm the singer, the bassist, and 68 00:08:27,800 --> 00:08:29,480 I write the chunes outstanding. 69 00:08:29,560 --> 00:08:31,680 Speaker 3: I'm glad that you're a singing bassist because I am 70 00:08:31,720 --> 00:08:34,600 also a bass player. And uh, I don't feel that 71 00:08:34,639 --> 00:08:36,399 we get enough time out in front. 72 00:08:36,720 --> 00:08:41,840 Speaker 1: You know, we're dying breed. You lead guitarist at ten 73 00:08:41,919 --> 00:08:43,919 a penny, but a good bass players worth his. 74 00:08:43,919 --> 00:08:47,399 Speaker 3: Weight and exactly, I completely agree. And i love that 75 00:08:47,559 --> 00:08:50,399 track nine Miles High. And I'm really curious to ask 76 00:08:50,440 --> 00:08:52,039 you now, did you write the lyrics to that? 77 00:08:53,039 --> 00:08:53,480 Speaker 1: Of course? 78 00:08:53,559 --> 00:08:55,679 Speaker 3: Of course, all right, tell me about tell me about 79 00:08:55,679 --> 00:09:01,159 these lyrics because very very interesting and uh, I really 80 00:09:01,159 --> 00:09:03,120 want to dive into this. I'm excited to talk to 81 00:09:03,159 --> 00:09:03,879 you about the song. 82 00:09:05,000 --> 00:09:08,000 Speaker 1: A friend of mine went through a phase where he 83 00:09:08,080 --> 00:09:12,679 spent a little bit too much time enjoying medicinal herbs 84 00:09:13,200 --> 00:09:19,799 and listening to his Twitter feed, and he began he 85 00:09:19,879 --> 00:09:23,080 was getting increasingly paranoid every time a helicopter went over 86 00:09:23,120 --> 00:09:26,120 here coming to look for him. Oh wow, you know, 87 00:09:26,600 --> 00:09:30,720 close to making Tim Foyle hats So there's about having 88 00:09:30,759 --> 00:09:33,279 a friend who's going down that dangerous rabbit hole and 89 00:09:33,320 --> 00:09:37,799 trying to pull him back from the brink. Yeah, that's 90 00:09:37,840 --> 00:09:40,480 the vibe. I don't know how much of that comes across, 91 00:09:40,480 --> 00:09:41,519 but that's what I was going for. 92 00:09:42,039 --> 00:09:42,240 Speaker 18: Yeah. 93 00:09:42,320 --> 00:09:45,600 Speaker 3: No, that's interesting because I think that that I don't know, 94 00:09:45,919 --> 00:09:47,679 I don't know what kind of feedback you've gotten on this, 95 00:09:47,799 --> 00:09:52,840 but to me, that seems highly relatable because I think, 96 00:09:52,960 --> 00:09:56,440 and I can tell you here in America, you know, 97 00:09:56,559 --> 00:10:01,320 there's there's a conspiracy theorism and all that stuff is rampant, 98 00:10:01,759 --> 00:10:04,480 and there are a lot of people who who there 99 00:10:04,480 --> 00:10:06,720 are a lot of people who don't need any any 100 00:10:07,120 --> 00:10:10,480 anything to help them get there. They just they just 101 00:10:10,519 --> 00:10:13,840 somehow managed to get there on their own. And it's frightening. 102 00:10:14,679 --> 00:10:16,200 Speaker 1: There's a lot of people over here who have just 103 00:10:16,240 --> 00:10:20,480 been waiting for confirmation of a lot of what you 104 00:10:20,799 --> 00:10:23,360 It's it's so difficult now reading the news every single 105 00:10:23,440 --> 00:10:27,360 day and having these little nudges that maybe the conspiracy 106 00:10:27,399 --> 00:10:31,159 theories were true. I got all excited about eighteen months 107 00:10:31,159 --> 00:10:33,279 ago when there are a bunch of expressidents talking about aliens. 108 00:10:33,279 --> 00:10:35,159 That sounded kind of fun, but it's taking a bit 109 00:10:35,159 --> 00:10:36,440 of a dark turn. Sit then. 110 00:10:38,480 --> 00:10:42,240 Speaker 3: It has it has, So I mean, what kind of 111 00:10:42,240 --> 00:10:44,440 feedback have you gotten on the song? Do you find 112 00:10:44,440 --> 00:10:47,000 that other people can also really kind of relate to this? 113 00:10:47,720 --> 00:10:51,480 Speaker 1: Yeah, people seem to like it. It's a lot of 114 00:10:51,480 --> 00:10:57,080 what we play is very deliberately like nineties focused, big choruses, britpop, 115 00:10:57,679 --> 00:10:59,320 and this is the one where we've gone a little 116 00:10:59,360 --> 00:11:02,519 bit a little more X files. Yeah, and people seem 117 00:11:02,559 --> 00:11:05,120 to appreciate it, So maybe that will be a direction 118 00:11:07,000 --> 00:11:09,519 we've tried to do. We've got a release plan for 119 00:11:09,559 --> 00:11:11,799 this year. We've got to put a song out every month. Okay, 120 00:11:11,840 --> 00:11:14,399 so we've got our next single is out next Friday, 121 00:11:15,519 --> 00:11:17,720 which is a very different vibe. But I think for 122 00:11:17,759 --> 00:11:19,559 the next few after that we're going to go back 123 00:11:19,600 --> 00:11:22,200 to the back to the well for some weird stuff. 124 00:11:22,519 --> 00:11:25,200 Speaker 3: Okay, Oh cool? What is that kind of your So 125 00:11:25,279 --> 00:11:27,440 you're going to be releasing a single every month? Is that? 126 00:11:27,600 --> 00:11:30,159 Is that the long term strategy? Are you going to do? 127 00:11:30,159 --> 00:11:32,399 You have any plans to do an EP or an album? 128 00:11:32,480 --> 00:11:34,200 You know? We we live in a time where there's 129 00:11:34,200 --> 00:11:37,720 so many different strategies for releasing music, so I'm curious 130 00:11:37,799 --> 00:11:40,639 or maybe these singles will eventually coalesce into an album 131 00:11:40,759 --> 00:11:42,759 or what one's kind of the long term strategy. 132 00:11:43,440 --> 00:11:46,240 Speaker 1: Well, probably every now and again, collect stuff together into 133 00:11:46,279 --> 00:11:50,679 a into a whatever feels best, So like collect them 134 00:11:50,679 --> 00:11:53,120 together by vibe. Yeah, we've got a CD. We've got 135 00:11:53,120 --> 00:11:55,600 a CD with putting out Next Friday, which is the 136 00:11:55,679 --> 00:11:57,879 most recent three songs that we've recorded. Not that we 137 00:11:57,960 --> 00:11:59,440 plan to do them like that, but they just they 138 00:11:59,480 --> 00:12:04,480 fit quite together. We're doing one single a month because 139 00:12:05,559 --> 00:12:08,200 it's just so hard to get anything out and through 140 00:12:08,240 --> 00:12:12,039 the noise since we since we started playing together that 141 00:12:12,120 --> 00:12:17,759 there's been just this explosion of AI created dross. So 142 00:12:18,000 --> 00:12:21,480 it's apparently Spotify. I'm not a big fan of the 143 00:12:21,519 --> 00:12:24,600 fact that Spotify exists, but to be fair to them, 144 00:12:24,600 --> 00:12:26,320 if they're having to deal with one hundred and fifty 145 00:12:26,399 --> 00:12:31,159 thousand AI songs uploaded every day, oh yeah, it's how 146 00:12:31,200 --> 00:12:32,720 do you get through that? It's because of people like 147 00:12:32,919 --> 00:12:34,919 it's going to be people like you that help bands 148 00:12:35,840 --> 00:12:37,720 fight through the noise. So thank you for what you're doing. 149 00:12:37,840 --> 00:12:41,039 Speaker 3: Oh absolutely, I appreciate that Yeah, you know, we're doing 150 00:12:41,039 --> 00:12:43,240 what we can. But we actually did a segment on 151 00:12:43,240 --> 00:12:47,120 that recently about Spotify and how how they've they've begun 152 00:12:47,200 --> 00:12:52,559 to delete a lot of AI generated music. Of course, 153 00:12:52,600 --> 00:12:56,080 the tricky thing there is too, I always say this, 154 00:12:56,480 --> 00:12:58,720 some people are going to get There are legitimate artists 155 00:12:58,720 --> 00:13:01,120 who are going to get caught in that as well. 156 00:13:01,600 --> 00:13:04,960 And that's a tricky thing too, because on one hand, Okay, 157 00:13:04,960 --> 00:13:07,639 you want to delete all this AI generated stuff, that's good. 158 00:13:07,720 --> 00:13:11,279 But at the same time, there are artists who maybe 159 00:13:11,320 --> 00:13:15,639 there's there's something in their music that flags gets the 160 00:13:15,679 --> 00:13:19,480 attention of the bot that is going through all this. Yeah, 161 00:13:19,519 --> 00:13:19,879 you know. 162 00:13:21,000 --> 00:13:24,639 Speaker 1: And there are only so many beats that you can play, right, 163 00:13:25,200 --> 00:13:28,919 I think that the solution might I'm sure your listeners 164 00:13:28,960 --> 00:13:30,559 know of a noh band camp? 165 00:13:31,000 --> 00:13:32,639 Speaker 3: Oh yeah, oh, I love band camp. 166 00:13:32,799 --> 00:13:35,080 Speaker 1: Which is which is a great idea. The trouble with 167 00:13:35,120 --> 00:13:36,799 band camp, I think, is that ninety percent of the 168 00:13:36,799 --> 00:13:39,360 people use it a musician selling their own music. It 169 00:13:39,360 --> 00:13:41,679 hasn't really got like mainstream traction. If there was a 170 00:13:41,720 --> 00:13:44,639 way of pushing people towards that, or if Spotify could 171 00:13:44,679 --> 00:13:48,039 do a at a button to buy a song, if 172 00:13:48,080 --> 00:13:52,639 you like it enough for whatever pennies you know, yeah whatever, 173 00:13:52,720 --> 00:13:57,519 that'd be a game changer. But until then, it's just 174 00:13:57,559 --> 00:13:59,600 a case of trying to get your music in front 175 00:13:59,639 --> 00:14:02,240 of people however you can. I'm so grateful if you're 176 00:14:02,279 --> 00:14:05,320 playing these songs to people who otherwise I'd have no 177 00:14:05,399 --> 00:14:07,240 way of reaching. I'm so grateful. 178 00:14:07,519 --> 00:14:09,759 Speaker 3: Yeah, no, we're like I said, We're glad to do it. 179 00:14:09,799 --> 00:14:13,039 And I do love that song. I'm curious about you know, 180 00:14:13,080 --> 00:14:15,639 you mentioned britt Pop and what that song to me? 181 00:14:15,759 --> 00:14:18,960 I mean, I'm a huge Oasis fan and you know, 182 00:14:19,039 --> 00:14:21,279 I job what's that? 183 00:14:22,360 --> 00:14:22,879 Speaker 1: Good job? 184 00:14:23,000 --> 00:14:29,080 Speaker 3: Thank you? Oh Morning Glory is one of my favorite 185 00:14:29,159 --> 00:14:32,120 albums ever. But or no, I'm sorry, I definitely maybe 186 00:14:32,200 --> 00:14:36,480 I'm sorry, but I'm curious about what other you know? 187 00:14:36,519 --> 00:14:38,799 Because you're in where where are you exactly? I'm not 188 00:14:38,840 --> 00:14:39,960 sure your exact location. 189 00:14:40,559 --> 00:14:44,759 Speaker 1: I'm in London. You're in London was the center of 190 00:14:44,799 --> 00:14:49,320 the universe musically until not so long ago. Yeah, you 191 00:14:49,399 --> 00:14:51,600 go back a few years and you couldn't walk down 192 00:14:51,600 --> 00:14:55,240 the street without bumping into someone work. I mean, I 193 00:14:55,639 --> 00:14:58,120 talk about Oasis. I bumped into an old Gallagher in 194 00:14:58,200 --> 00:15:01,720 a supermarket here. Oh no, getting like just ambushed him 195 00:15:01,720 --> 00:15:04,960 while he was trying to buy his butter, and he 196 00:15:05,080 --> 00:15:08,679 was a lovely man. Lovely man, and he's very like that. 197 00:15:08,720 --> 00:15:12,159 That used to be pretty standard around here. Amy Winehouse 198 00:15:12,159 --> 00:15:16,799 brought me lunch at breakfast with Black Sabbath. I've got 199 00:15:17,000 --> 00:15:18,279 photo evidence of a lot of that. 200 00:15:19,480 --> 00:15:19,720 Speaker 3: Wow. 201 00:15:20,440 --> 00:15:25,559 Speaker 1: Now, it's just there's been such a what's the word, 202 00:15:25,600 --> 00:15:30,840 a fragmentation of that industry that it's just hard for 203 00:15:31,039 --> 00:15:35,840 any of those little ecosystems to sustain themselves. Sure, there's there, 204 00:15:36,000 --> 00:15:38,080 there are a couple of new bands getting through. There's 205 00:15:38,080 --> 00:15:42,320 a few. There's a band called Westside Cowboy that are 206 00:15:42,320 --> 00:15:46,279 breaking through that sound pretty good like a traditional guitar band. 207 00:15:46,879 --> 00:15:49,559 Speaker 3: Interesting, so in terms of. 208 00:15:49,519 --> 00:15:53,039 Speaker 1: Like, we we love the britpop thing because we what 209 00:15:53,320 --> 00:15:57,759 we really love is choruses. Man, people bands now seem 210 00:15:57,799 --> 00:16:00,200 to be sort of embarrassed about writing choruses. The look 211 00:16:00,600 --> 00:16:05,720 so moody. Why do you The guitar is meant to 212 00:16:05,720 --> 00:16:07,799 make you feel good? That's the point at the end, 213 00:16:07,840 --> 00:16:09,240 at the end of a gig. If if you've got 214 00:16:09,240 --> 00:16:10,759 a bunch of people who have only seen you for 215 00:16:10,799 --> 00:16:13,799 the first time, yeah, I don't think nine out of 216 00:16:13,879 --> 00:16:15,759 ten of them are going to walk away remembering your lyrics, 217 00:16:15,799 --> 00:16:16,519 but remember. 218 00:16:16,440 --> 00:16:18,360 Speaker 3: Make them feel exactly. 219 00:16:19,039 --> 00:16:22,320 Speaker 1: That's it man, aim for aim for the joy exactly. 220 00:16:22,480 --> 00:16:24,879 Speaker 3: No, I agree, I agree. Is there is there like 221 00:16:24,960 --> 00:16:29,200 a pressure coming from there in terms of, you know, 222 00:16:29,360 --> 00:16:32,840 being being a band from from London? Well actually though, 223 00:16:33,000 --> 00:16:35,279 well interestingly, so you're in London, but not all the 224 00:16:35,320 --> 00:16:36,759 band members are correct. 225 00:16:37,240 --> 00:16:39,279 Speaker 1: Oh they're all in London now they are? 226 00:16:40,120 --> 00:16:44,840 Speaker 3: Yeah, yeah, so we're we all live Oh good, okay, okay, so. 227 00:16:44,919 --> 00:16:47,720 Speaker 1: Now we're a real like in person band. Oh good, 228 00:16:47,919 --> 00:16:52,240 and we yea and we so the guitarist one of them, Parlo. 229 00:16:52,360 --> 00:16:55,759 He's Italian, as you can guess from Yeah, Gonzalo is 230 00:16:55,879 --> 00:16:57,000 Gonzalo is Chilean. 231 00:16:58,360 --> 00:16:59,320 Speaker 3: Oh okay. 232 00:17:00,639 --> 00:17:02,919 Speaker 1: But all we came together with the It was all 233 00:17:02,960 --> 00:17:05,640 we found each other online and came together for the 234 00:17:05,680 --> 00:17:06,599 love of the same music. 235 00:17:06,839 --> 00:17:07,799 Speaker 3: Yeah. 236 00:17:07,920 --> 00:17:09,400 Speaker 1: I mean you can tell what music we like from 237 00:17:09,440 --> 00:17:11,720 listening to ourselves. We're on ours leaves. 238 00:17:11,839 --> 00:17:15,079 Speaker 3: Yeah, absolutely, So is there a pressure like being a 239 00:17:15,079 --> 00:17:17,960 London band in terms of just I mean, you mentioned 240 00:17:18,000 --> 00:17:20,759 trying to cut through the noise. There's that part, but 241 00:17:20,920 --> 00:17:23,599 is there also this thing where, like you said, you know, 242 00:17:23,680 --> 00:17:27,200 it used to be if it's not still or one 243 00:17:27,240 --> 00:17:30,359 of the centers of of the of the musical universe. 244 00:17:30,440 --> 00:17:32,720 Like do people expect you as a band from London 245 00:17:32,799 --> 00:17:36,200 to is there a certain expectation there or or a 246 00:17:36,240 --> 00:17:39,920 certain expectation in terms of your sound or I really can't. 247 00:17:40,000 --> 00:17:42,960 Speaker 1: I mean we're just so blessed to be from London. Yeah, 248 00:17:43,440 --> 00:17:47,119 it just carries a certain a certain weight I think. 249 00:17:47,160 --> 00:17:49,400 Like this is the venue that we're playing next Saturday 250 00:17:49,519 --> 00:17:53,160 is called the Troubadour. Oh yes, any I mean that's 251 00:17:53,279 --> 00:17:56,000 it's the last surviving sixties venue. We'll be playing on 252 00:17:56,039 --> 00:17:59,720 the same stage that who Jimmy Hendrix, Rolling Stones used 253 00:17:59,759 --> 00:18:03,359 to play on, And that's the It's just an ordinary venue. 254 00:18:03,400 --> 00:18:06,920 It's not like a museum. So yeah, we're really spoilt 255 00:18:06,920 --> 00:18:10,440 like that, and just the I mean I half joke 256 00:18:10,440 --> 00:18:13,559 about bumping into people, but you really can find amazing people. 257 00:18:13,839 --> 00:18:17,319 The guy that the song you just played was recorded 258 00:18:17,519 --> 00:18:19,480 for as by a guy called Paul Tipler, who was 259 00:18:19,519 --> 00:18:24,039 a lovely man and he runs a little studio in London. 260 00:18:24,200 --> 00:18:27,200 He charges next to nothing for it and he's put out. 261 00:18:27,440 --> 00:18:31,240 He's produced Doctor Feel Good. He did the first recordings 262 00:18:31,240 --> 00:18:36,200 by Placebo. Like he's there are just these people around, 263 00:18:36,319 --> 00:18:40,119 like there's a really nice I've never met anyone who 264 00:18:40,119 --> 00:18:42,559 wants to do anyone down in music. I haven't everyone 265 00:18:42,839 --> 00:18:43,640 everyone's been lovely. 266 00:18:43,880 --> 00:18:45,039 Speaker 3: Yeah, and I think that might be. 267 00:18:45,079 --> 00:18:47,319 Speaker 1: I do love London, but there is something magic about 268 00:18:47,319 --> 00:18:48,200 it now. 269 00:18:48,359 --> 00:18:48,519 Speaker 6: Is it? 270 00:18:48,640 --> 00:18:50,480 Speaker 3: Unit thirteen? Is that where you recorded that? 271 00:18:51,279 --> 00:18:51,599 Speaker 19: It is? 272 00:18:51,720 --> 00:18:52,079 Speaker 1: Yeah? 273 00:18:52,160 --> 00:18:56,160 Speaker 3: Okay, yeah, great, great sound. You know obviously it came 274 00:18:56,200 --> 00:18:59,680 out really well. Have you recorded the previous singles that 275 00:18:59,759 --> 00:19:02,680 you've released or are releasing? Are those all recorded there 276 00:19:02,720 --> 00:19:03,079 as well? 277 00:19:03,680 --> 00:19:06,240 Speaker 1: So we did a song called The Downside that came 278 00:19:06,279 --> 00:19:08,640 out I think earlier this year with him and the 279 00:19:08,680 --> 00:19:11,119 next the next song, Delilah, is that next Friday. I'll 280 00:19:11,119 --> 00:19:13,880 send it to you after after this chat to enjoy 281 00:19:13,920 --> 00:19:15,599 a few if you're interested. 282 00:19:16,039 --> 00:19:18,079 Speaker 3: Yeah, what what what song is it? 283 00:19:18,079 --> 00:19:19,119 Speaker 1: It's called Delilah? 284 00:19:19,200 --> 00:19:22,079 Speaker 3: Oh, Delilah? Okay, okay, and I do have you also 285 00:19:22,119 --> 00:19:23,720 sent us Ramona, which I'm going to play at the 286 00:19:23,839 --> 00:19:27,359 end of our our conversation. That's a great song too. 287 00:19:27,359 --> 00:19:28,000 I really like that. 288 00:19:28,039 --> 00:19:31,079 Speaker 1: A lot that was that was produced by a friend 289 00:19:31,119 --> 00:19:36,559 of ours called Cucko, who runs Damon Albarn's studio, which 290 00:19:36,599 --> 00:19:38,480 is also called thirteen Studios. 291 00:19:39,720 --> 00:19:41,640 Speaker 3: I guess it's amazing. 292 00:19:41,799 --> 00:19:43,319 Speaker 1: Yeah, yeah, there's there's a magic there, right. 293 00:19:45,559 --> 00:19:49,279 Speaker 3: Oh, that's excellent. So in terms of writing, you know, 294 00:19:49,319 --> 00:19:52,839 obviously you mentioned Nine Miles High. You wrote the lyrics. 295 00:19:52,920 --> 00:19:54,559 I assume did you also write the music to that. 296 00:19:55,480 --> 00:19:59,400 Speaker 1: Yeah. Yeah, I tend to come in with just really 297 00:19:59,440 --> 00:20:04,240 basic towards and a melody and but my voice won't change. 298 00:20:04,240 --> 00:20:05,880 But I tried to give the rest of the band 299 00:20:05,880 --> 00:20:08,440 as much space as they as they want to develop it. 300 00:20:08,480 --> 00:20:10,599 Speaker 3: Has it been that way from the beginning with this project. 301 00:20:11,400 --> 00:20:11,599 Speaker 20: Yeah? 302 00:20:11,640 --> 00:20:13,880 Speaker 1: Absolutely. It means to feel that I don't want it 303 00:20:13,920 --> 00:20:15,839 to be me and my session band. It has to 304 00:20:15,880 --> 00:20:19,480 be those guys expressing themselves. It's a nice Arctic Monkeys 305 00:20:19,519 --> 00:20:21,240 style riffing that the Power came up with. 306 00:20:22,039 --> 00:20:25,559 Speaker 3: Oh okay, you're right, No, that's yeah, that's cool. And 307 00:20:25,599 --> 00:20:29,119 then I assume what's the live situation, like, are you 308 00:20:29,160 --> 00:20:30,680 doing a lot of shows? You you know, you did 309 00:20:30,680 --> 00:20:32,480 mention the show at the Troubadour coming up. If you've 310 00:20:32,480 --> 00:20:34,920 been playing a lot, because I can imagine I would 311 00:20:34,920 --> 00:20:37,400 assume that in London there's a lot of places to play, 312 00:20:37,559 --> 00:20:40,279 or maybe not, I'm assuming, but. 313 00:20:39,599 --> 00:20:43,279 Speaker 1: Yeah, there are loads of venues. But the audiences for 314 00:20:43,519 --> 00:20:45,680 live bands aren't quite what they used to be. I'm 315 00:20:45,720 --> 00:20:50,559 from Camden, which is I mean, it was the musical hub, 316 00:20:51,000 --> 00:20:53,960 but so many of those venues are closed down now 317 00:20:55,160 --> 00:21:00,240 just because the constant tax and business rates keep keep 318 00:21:00,279 --> 00:21:02,359 going up, which pushes some good people out of business. 319 00:21:02,599 --> 00:21:02,880 Speaker 3: Right. 320 00:21:03,039 --> 00:21:05,039 Speaker 1: But that said, that said, there are some growing scenes. 321 00:21:05,079 --> 00:21:08,559 There's some wonderful people here. There's Debbe from Cooper Concepts 322 00:21:08,559 --> 00:21:11,079 who's built a fantastic little scene over in West London. 323 00:21:12,200 --> 00:21:15,799 There's a new friend of ours called Johnny. I only 324 00:21:15,880 --> 00:21:19,400 know him as Johnny Middleman. He's a bit secretive. He's 325 00:21:19,599 --> 00:21:21,880 he's putting on the gig at the Trouper Door as 326 00:21:21,960 --> 00:21:25,319 part of what he's trying to develop into a gig 327 00:21:25,400 --> 00:21:28,480 cooperative with the London were a London band and there 328 00:21:28,519 --> 00:21:32,359 are three other bands from other major English cities. So 329 00:21:32,400 --> 00:21:34,000 they're going to come down and see us and then 330 00:21:34,119 --> 00:21:36,640 soon we'll go up and play their places. Because that's, 331 00:21:36,799 --> 00:21:39,160 as I say, being from London, we're so blessed that 332 00:21:39,720 --> 00:21:41,880 it's easy for us to get gigs in London. Yeah 333 00:21:42,039 --> 00:21:44,119 we can, just you know, you get a bus there, 334 00:21:44,160 --> 00:21:45,880 it's not hard. But if you've got to come down 335 00:21:45,920 --> 00:21:47,920 from Manchester or Liverpool. That's that's a. 336 00:21:47,839 --> 00:21:51,920 Speaker 3: Big investment right right now. That's that's excellent. Are are 337 00:21:51,920 --> 00:21:55,279 you playing like pretty consistently or what's what's the what's 338 00:21:55,319 --> 00:21:55,799 the schedule? 339 00:21:56,160 --> 00:21:59,400 Speaker 1: As much as we can, we've got to we play 340 00:21:59,400 --> 00:22:01,119 a lot to each other. We've got to shared that 341 00:22:01,160 --> 00:22:04,960 we're always playing it. Yeah, but in terms of like 342 00:22:06,279 --> 00:22:08,640 we're trying to play one London Giga month and then 343 00:22:08,680 --> 00:22:11,480 get out of London to play other places. 344 00:22:10,680 --> 00:22:15,920 Speaker 3: Yeah, I'm really curious what the name Howling Hawk means. 345 00:22:16,960 --> 00:22:19,319 I'm sure you get this question all the time, but uh, 346 00:22:20,440 --> 00:22:22,400 I like the name, but I'm curious what it means. 347 00:22:22,839 --> 00:22:27,759 Speaker 1: It's just Howling Wolf was taken. That's about it one 348 00:22:27,799 --> 00:22:28,160 time ago. 349 00:22:28,319 --> 00:22:28,519 Speaker 3: Yeah. 350 00:22:28,799 --> 00:22:31,960 Speaker 1: I think that the best, the best rock and roll 351 00:22:32,000 --> 00:22:36,000 band name ever is the Rolling Stones for me, okay, 352 00:22:36,160 --> 00:22:37,720 And we were trying to come up with something in 353 00:22:37,720 --> 00:22:40,759 the same bluesy vein and just something about that. Howling 354 00:22:40,880 --> 00:22:43,440 stuck and we went through it to try and find 355 00:22:44,200 --> 00:22:46,039 you've got Arctic monkeys. We didn't want it to be 356 00:22:46,119 --> 00:22:50,400 ridiculous like hawling penguin. Certain edge to it. 357 00:22:50,799 --> 00:22:52,759 Speaker 3: No, I like it. I like it. Did you did 358 00:22:52,799 --> 00:22:54,480 the name come easily or did you have to go 359 00:22:54,519 --> 00:22:56,839 through some to find one that you agree on? 360 00:22:57,640 --> 00:23:00,240 Speaker 1: God? No, I've had so many, so many, terror all 361 00:23:00,319 --> 00:23:01,000 terrible names. 362 00:23:01,079 --> 00:23:04,039 Speaker 3: Okay, I love I love hearing about rejected band names. 363 00:23:04,039 --> 00:23:06,319 Give me, give me what you got. I love this. 364 00:23:07,640 --> 00:23:12,160 Speaker 1: The lema was floated around for a while, really, as 365 00:23:12,240 --> 00:23:17,119 in the monkey, the little furry thing, that something exotic 366 00:23:17,160 --> 00:23:17,599 and cool? 367 00:23:18,359 --> 00:23:20,519 Speaker 3: What was it gonna be? Howleen lemur or just uh 368 00:23:21,319 --> 00:23:21,880 see if. 369 00:23:21,720 --> 00:23:30,160 Speaker 1: We'd have had you? We we went through a phase 370 00:23:30,160 --> 00:23:37,079 of just adding colors, two different nouns as well, Okay, red, 371 00:23:37,160 --> 00:23:43,000 the red seven, you know, the blue whatever the blue. 372 00:23:44,839 --> 00:23:47,400 But yeah, harling Hawk has done quite well. It looks 373 00:23:47,440 --> 00:23:48,759 pretty good on a T shirt as well. 374 00:23:48,920 --> 00:23:50,839 Speaker 3: Yeah, no doubt, no doubt. No, it's a cool name. 375 00:23:50,839 --> 00:23:53,680 Although the red seven is kind of cool. I wonder, 376 00:23:53,720 --> 00:23:57,240 I wonder if anyone else has taken that. I do 377 00:23:57,480 --> 00:24:00,200 like that, But I think, excuse me, I think, no, 378 00:24:00,279 --> 00:24:03,920 Hawlleen Hawk is a great name. And what how long 379 00:24:03,960 --> 00:24:05,559 has this project existed? 380 00:24:05,599 --> 00:24:05,799 Speaker 6: When? 381 00:24:06,160 --> 00:24:07,680 Speaker 3: When? When? Roughly did you start this? 382 00:24:09,000 --> 00:24:09,160 Speaker 21: Well? 383 00:24:09,200 --> 00:24:16,000 Speaker 1: I met the guitarist Reese, the guitarist Gunzalo and Parlo 384 00:24:16,319 --> 00:24:19,920 about two years back. Okay, and we've had a series 385 00:24:19,960 --> 00:24:22,680 of different drummers for different reasons too. We met We 386 00:24:22,759 --> 00:24:26,519 met Reese in about the summer of last year. Okay, 387 00:24:26,599 --> 00:24:29,720 so probably since then. This feels like the band at 388 00:24:29,720 --> 00:24:30,079 the moment. 389 00:24:30,279 --> 00:24:33,039 Speaker 3: Yeah, so this is a relatively new project then in 390 00:24:33,039 --> 00:24:35,759 the grand scheme of things. 391 00:24:35,279 --> 00:24:38,480 Speaker 1: Yeah, absolutely so if everything's we're still learning how to 392 00:24:38,519 --> 00:24:39,319 do everything really. 393 00:24:40,759 --> 00:24:43,319 Speaker 3: Yeah. It's interesting too that you mentioned about drummers. It 394 00:24:43,720 --> 00:24:45,559 sounds like you've been through a few. I don't know 395 00:24:45,720 --> 00:24:48,559 if it's the same there, but I can tell you 396 00:24:48,640 --> 00:24:52,440 here every drummer I know is in just multiple projects 397 00:24:52,480 --> 00:24:54,920 because there's only you know, we we talked at the 398 00:24:54,920 --> 00:24:58,559 beginning about how bass players are, you know, harder to find. 399 00:24:58,599 --> 00:24:59,960 Drummers are like impossible. 400 00:25:01,119 --> 00:25:03,680 Speaker 1: Yeah, I mean I only played the bass because I 401 00:25:03,680 --> 00:25:06,119 couldn't find a bassis. So yeah, I've got two guitarists 402 00:25:06,119 --> 00:25:10,759 and bought bass instead. But this this drummer, now, Reese, 403 00:25:10,799 --> 00:25:14,039 aside from being a talented drummer, he sings as well. Yeah, 404 00:25:14,119 --> 00:25:16,160 so it's been leaning into that to try and build 405 00:25:16,240 --> 00:25:19,039 up that Lennon and McCartney vocal vibe. 406 00:25:19,279 --> 00:25:19,440 Speaker 18: Right. 407 00:25:19,440 --> 00:25:21,759 Speaker 1: It's ridiculously arrogant, isn't it. How can he jump from 408 00:25:23,559 --> 00:25:27,480 he jumped to Lennon and McCartney. Yeah, yeah, far more, 409 00:25:28,440 --> 00:25:30,519 far more average than Lenna McCartney. But we're going to 410 00:25:30,559 --> 00:25:32,720 have multiple voices from now so that should be fun. 411 00:25:32,839 --> 00:25:36,920 Speaker 3: Yeah, no, I think that's excellent. So so the show 412 00:25:36,920 --> 00:25:39,440 at the Troubadour is on the twenty eighth, so that's 413 00:25:39,480 --> 00:25:41,559 a big deal. Who do you want to mention? Who 414 00:25:41,599 --> 00:25:43,279 else is on that show with you? You guys are 415 00:25:43,279 --> 00:25:45,759 the headliners? Correct, Yeah, we are, and. 416 00:25:46,640 --> 00:25:49,480 Speaker 1: They're they're only I think a few. It's like a 417 00:25:49,480 --> 00:25:53,559 handful of tickets left now, which is really eating because 418 00:25:53,759 --> 00:26:00,359 it's being filmed and recorded as well. Excellent to put 419 00:26:00,359 --> 00:26:03,119 out live at the Troubadour EP later in the year. 420 00:26:03,279 --> 00:26:03,960 Speaker 3: Oh, very cool. 421 00:26:05,039 --> 00:26:08,400 Speaker 1: So the other bands we've got, uh is a band 422 00:26:08,440 --> 00:26:10,319 called and the Mama's Boys. 423 00:26:10,480 --> 00:26:14,440 Speaker 3: Okay, that's fantastic. 424 00:26:17,480 --> 00:26:22,440 Speaker 1: There's a band called black Manas okay, well, and they're 425 00:26:22,480 --> 00:26:24,559 they're really good. Some of their stuff sounds a bit 426 00:26:24,599 --> 00:26:27,839 like they're from Manchester, so if you imagine LCD sound 427 00:26:27,920 --> 00:26:30,599 system but with a thick Manchester. 428 00:26:30,079 --> 00:26:31,920 Speaker 3: Accent, okay, okay, interesting. 429 00:26:32,799 --> 00:26:36,519 Speaker 1: And there's another band called Brides who are really cool okay, 430 00:26:38,160 --> 00:26:39,839 and they'll be grateful for that. Shout out. 431 00:26:39,880 --> 00:26:42,519 Speaker 3: So yeah, no doubt, no doubt, that's great. And then 432 00:26:42,559 --> 00:26:48,240 so what's what's the next thing after that? Because I know, well, well, 433 00:26:48,279 --> 00:26:50,119 actually let me ask it this way. When does the 434 00:26:50,440 --> 00:26:52,400 or maybe it's already started. You said, you know you 435 00:26:52,440 --> 00:26:55,720 guys are going to do one single a month, So 436 00:26:55,920 --> 00:26:58,839 is that is that cycle already begun? As far as 437 00:26:58,920 --> 00:27:01,000 I know, nine Miles High is new? 438 00:27:01,119 --> 00:27:01,279 Speaker 18: Right? 439 00:27:01,319 --> 00:27:03,960 Speaker 3: What is that about this month or last month? 440 00:27:04,279 --> 00:27:06,400 Speaker 1: Yeah, so that came out. We're trying to put us 441 00:27:06,400 --> 00:27:09,559 somewhere on the last day I think or near enough. Okay, 442 00:27:10,759 --> 00:27:15,880 that's been out for two three weeks now and we've 443 00:27:15,880 --> 00:27:23,839 been it's it's been great. How many hangs that we've 444 00:27:23,839 --> 00:27:26,400 been stuck in a little London bubble for a while, 445 00:27:27,440 --> 00:27:30,599 and so so we're really grateful for the people who 446 00:27:30,599 --> 00:27:31,839 are seeing us and hearing us. A lot of the 447 00:27:31,839 --> 00:27:34,279 time it's the same people. So to get the music 448 00:27:34,319 --> 00:27:38,119 out and heard in other strange and interesting places, it's 449 00:27:38,319 --> 00:27:42,480 really fun, Like you get messages from interesting places. So 450 00:27:42,640 --> 00:27:48,039 we're trying to get some airplay in places that we 451 00:27:48,079 --> 00:27:51,079 wouldn't normally go. The next song, we've got a few 452 00:27:51,720 --> 00:27:55,279 conversations like this booked in with places in Italy and Chile, 453 00:27:57,079 --> 00:27:59,200 and then we'd like to get maybe go out abroad 454 00:27:59,279 --> 00:28:00,000 somewhere and play. 455 00:28:00,359 --> 00:28:02,119 Speaker 3: Well that's kind of a that's kind of an interesting 456 00:28:02,119 --> 00:28:05,519 advantage too. Where where you've you've got in terms of 457 00:28:05,559 --> 00:28:09,119 the members of the band, there's some diversity there in 458 00:28:09,200 --> 00:28:11,559 terms of where they're from originally, so it kind of 459 00:28:11,599 --> 00:28:14,680 gives you it kind of gives you an in uh 460 00:28:14,759 --> 00:28:17,160 in some places that you wouldn't otherwise have. So that's 461 00:28:17,200 --> 00:28:17,759 pretty cool. 462 00:28:19,000 --> 00:28:23,440 Speaker 1: Yeah, we've we've had some some radio play in with 463 00:28:23,559 --> 00:28:27,680 indie blocks in Brazil and Argentina, Okay, but we haven't 464 00:28:27,680 --> 00:28:31,599 had any interviews or any proper conversations yet. Yeah, so 465 00:28:31,640 --> 00:28:33,599 we'd like to build some relationships with that. That's a 466 00:28:33,640 --> 00:28:35,079 big part of what we do. This is just meeting 467 00:28:35,079 --> 00:28:37,079 people with the same interests, who like the same things. 468 00:28:37,079 --> 00:28:40,119 You know. We want to make friends, yeah, and share 469 00:28:40,160 --> 00:28:41,920 those those joyful moments. 470 00:28:42,039 --> 00:28:44,160 Speaker 3: Oh yeah, absolutely, that's how you build a fan base. 471 00:28:44,240 --> 00:28:46,519 So no, I think you're I think you're on a 472 00:28:46,519 --> 00:28:48,640 great trajectory. Like I said, I listened to UH. I 473 00:28:48,680 --> 00:28:50,599 listened to a bunch of the songs, you know, because 474 00:28:50,599 --> 00:28:54,119 we did Mention band camp, So I was listening to Uh, obviously, 475 00:28:54,200 --> 00:28:55,839 I love nine Miles High. I was listening to some 476 00:28:55,839 --> 00:28:57,839 of the other tracks on band camp. The great thing 477 00:28:57,839 --> 00:29:01,200 about band camp too, is and because I mentioned this, 478 00:29:01,279 --> 00:29:03,240 every opportunity I get, because a lot of people don't 479 00:29:03,240 --> 00:29:06,359 realize this, you get a higher quality file on band 480 00:29:06,359 --> 00:29:08,400 camp than you do if you're just say you're just 481 00:29:08,400 --> 00:29:10,720 streaming it on YouTube or something like that. So I'm 482 00:29:10,720 --> 00:29:13,759 a big I'm a big proponent of band camp. I 483 00:29:13,759 --> 00:29:15,839 think that's the best place to listen to that to 484 00:29:16,160 --> 00:29:17,440 listen to music personally. 485 00:29:18,240 --> 00:29:21,559 Speaker 1: Yeah, I tried, is it? Title? 486 00:29:22,039 --> 00:29:22,680 Speaker 3: Tried title? 487 00:29:22,880 --> 00:29:25,000 Speaker 1: Yeah, it was okay. And there's one I think called 488 00:29:25,440 --> 00:29:30,119 Coba's or quobas qob u z And it's really really 489 00:29:30,160 --> 00:29:32,440 noticeable that the leap in audio quality. I think there's 490 00:29:32,440 --> 00:29:34,400 a whole the whole generation of people now who have 491 00:29:34,519 --> 00:29:36,880 only ever used Spotify and YouTube, who've never had the 492 00:29:36,960 --> 00:29:39,559 chance to listen to Dark Side of the Moon or 493 00:29:39,599 --> 00:29:41,599 Sergeant Pepper on vinyl through nice speakers. 494 00:29:41,839 --> 00:29:45,519 Speaker 3: Yeah, yeah, they are, they are missing out. Nothing sounds 495 00:29:45,559 --> 00:29:49,119 better than vinyl. I love the warmth of vinyl. What 496 00:29:49,480 --> 00:29:51,839 so are are? Do you guys have any plans to 497 00:29:51,880 --> 00:29:54,839 release any physical media or is everything digital because I 498 00:29:54,880 --> 00:29:58,720 can tell you that here in the US, CDs not 499 00:29:58,839 --> 00:30:01,240 that they ever went away, but it seems like over 500 00:30:01,279 --> 00:30:03,319 the last five or six years have have sort of 501 00:30:03,759 --> 00:30:06,480 made a comeback in the sense that a lot of 502 00:30:06,559 --> 00:30:09,720 independent artists here really like to have physical media. But 503 00:30:09,759 --> 00:30:11,920 I've also noticed when I talk to artists from the UK, 504 00:30:12,440 --> 00:30:14,920 it seems a little different there. It seems like, uh 505 00:30:15,079 --> 00:30:16,799 like maybe you've all just kind of left that in 506 00:30:16,839 --> 00:30:19,079 the past. I don't know, though, I'm curious what your 507 00:30:19,079 --> 00:30:20,039 perspective is on that. 508 00:30:21,039 --> 00:30:27,079 Speaker 1: I think I think people are naturally inclined to want 509 00:30:27,240 --> 00:30:31,240 artifacts that commemorate the things that they love. Yes, like 510 00:30:31,400 --> 00:30:34,319 I've I've got you, and I have got access to 511 00:30:34,440 --> 00:30:38,119 YouTube for free. We could listen to any song that's 512 00:30:38,160 --> 00:30:41,160 ever been released without spending a penny. But they've still 513 00:30:41,200 --> 00:30:43,599 got that drive in me to buy the latest vital 514 00:30:43,680 --> 00:30:46,319 by my favorite band. Yes, if I reissues and I 515 00:30:46,400 --> 00:30:50,880 find that people want people buy CDs from us, then 516 00:30:50,880 --> 00:30:53,119 they'll they'll never play them, They'll listen to us in 517 00:30:53,160 --> 00:30:55,240 other ways anyway. Right, I want to have something that 518 00:30:55,279 --> 00:30:58,279 shows that they've they've built that connection. So yeah, absolutely, 519 00:30:58,359 --> 00:31:02,680 we're starting to move into physical media. Excellent there's been 520 00:31:02,680 --> 00:31:05,200 a weird push for old style cassettes, you know, like 521 00:31:05,240 --> 00:31:09,319 the old Walkman where that's come from people. I think 522 00:31:09,319 --> 00:31:12,240 that just looks really cool when you put on a shelf. Yeah, 523 00:31:12,839 --> 00:31:15,240 might be that. I would love to get some vinyl going, 524 00:31:15,279 --> 00:31:17,480 but it's just it's just not realistic. 525 00:31:18,519 --> 00:31:19,480 Speaker 3: It's very expensive. 526 00:31:20,480 --> 00:31:22,720 Speaker 1: Yeah. There have you heard of Third Man Records? 527 00:31:24,119 --> 00:31:25,880 Speaker 3: That sounds familiar to me. I'm not sure that. 528 00:31:26,480 --> 00:31:29,319 Speaker 1: So Jack White, the white striped Jack White, Yeah, really 529 00:31:29,319 --> 00:31:34,240 really cool guy is pushing for greater accessibility for vinyl. Oh, okay, 530 00:31:34,759 --> 00:31:38,240 he's opened a he's got a store in Nashville, I know, 531 00:31:39,000 --> 00:31:41,200 but he's opened up another one in London, not far 532 00:31:41,240 --> 00:31:43,759 from where I'm sitting now. And at the back is 533 00:31:43,839 --> 00:31:48,519 a nineteen fifties straight to wax recording booth. Oh, you 534 00:31:48,559 --> 00:31:51,880 can go in and record records straight onto vinyl, but 535 00:31:51,960 --> 00:31:55,440 it's broken. They go in there once a week to 536 00:31:55,480 --> 00:32:00,279 see if they've had it repaired. I'm praying that by 537 00:32:00,279 --> 00:32:01,119 the end of this year I've. 538 00:32:01,000 --> 00:32:03,079 Speaker 3: Got something on vinyl that's interesting. 539 00:32:03,440 --> 00:32:03,680 Speaker 1: Yeah. 540 00:32:03,839 --> 00:32:06,480 Speaker 3: Here in the US, it was either twenty two or 541 00:32:06,519 --> 00:32:08,759 twenty three was the first year, or maybe it was 542 00:32:08,799 --> 00:32:11,759 twenty four. It all becomes a blur. But the first 543 00:32:11,799 --> 00:32:16,839 year that vinyl actually outsold CDs for the first time 544 00:32:16,920 --> 00:32:21,359 since CDs became the you know, the primary medium for music. 545 00:32:21,440 --> 00:32:24,279 So yeah, love love the sound of vinyl, and people 546 00:32:24,279 --> 00:32:26,519 give me vinyl records sometimes. You know, some of the 547 00:32:26,519 --> 00:32:27,920 guests that we have on the show that are here 548 00:32:27,920 --> 00:32:29,920 in person, and you know, I don't. I don't even 549 00:32:29,960 --> 00:32:31,359 have a record player at home. We do have one 550 00:32:31,359 --> 00:32:33,039 here in the station. I don't have one at home, 551 00:32:33,079 --> 00:32:34,680 but it's just cool to have it, you know, and 552 00:32:34,720 --> 00:32:37,839 it looks good on the wall, and you know, love vinyl. 553 00:32:38,039 --> 00:32:41,160 Speaker 1: Yeah, yeah, absolutely. I mean someone it might have been 554 00:32:41,200 --> 00:32:45,519 Warren Zevon was talking about books. He said that we 555 00:32:45,599 --> 00:32:47,759 buy books not necessarily to buy them, but because we 556 00:32:47,839 --> 00:32:50,960 feel richer having them around. And I think having vinyls 557 00:32:51,000 --> 00:32:53,039 is the same thing. I love that vinyls have also 558 00:32:53,079 --> 00:32:56,160 brought back a new found love for art and for 559 00:32:56,200 --> 00:32:59,759 cover art. Yes, it means people are displaying these things 560 00:32:59,799 --> 00:33:00,839 in our homes. 561 00:33:01,279 --> 00:33:06,799 Speaker 3: That's a great point. Yeah, absolutely, absolutely, Well, Jim, in 562 00:33:06,880 --> 00:33:10,200 a moment, we're gonna we'll hit that track Ramona. This 563 00:33:10,279 --> 00:33:13,359 is another great song and I really like this a lot. 564 00:33:13,400 --> 00:33:15,920 But before we do that, and you know, we'll we'll 565 00:33:15,960 --> 00:33:17,200 let you go in a moment when we do that. 566 00:33:17,279 --> 00:33:20,119 But where is the best place to go? Where should 567 00:33:20,119 --> 00:33:22,359 people go online to keep up with everything that Howling 568 00:33:22,440 --> 00:33:23,160 Hawk is doing. 569 00:33:24,000 --> 00:33:27,680 Speaker 1: We're we're most active on Instagram, but you can follow 570 00:33:27,720 --> 00:33:29,359 us wherever you like if you go to harling hawk 571 00:33:29,400 --> 00:33:31,599 dot com. Okay, we want to speak to me and 572 00:33:31,640 --> 00:33:33,640 say hello and maybe you'll send you a present, and 573 00:33:33,799 --> 00:33:36,160 just go to go to the Instagram. 574 00:33:36,839 --> 00:33:40,200 Speaker 3: Okay, that's easy. Yeah, absolutely, Yeah. It seems like Instagram 575 00:33:40,279 --> 00:33:42,839 is really becoming in terms of social media, kind of 576 00:33:42,880 --> 00:33:46,519 the main hub now for a lot of artists, which 577 00:33:46,559 --> 00:33:47,599 is which is interesting. 578 00:33:48,400 --> 00:33:50,799 Speaker 1: It's amazing the people that you find on that. I 579 00:33:50,880 --> 00:33:54,960 was talking the other day to Gordon Raphael. You recorded 580 00:33:55,000 --> 00:33:58,160 the first two Strokes albums. Yeah, shutting away on Instagram. 581 00:33:59,720 --> 00:34:04,920 It's what Twitter should have been. Yeah, I love it. 582 00:34:05,200 --> 00:34:07,759 Speaker 3: Yeah, Yeah, I like how you said that is what 583 00:34:07,839 --> 00:34:14,639 Twitter should have been. Yeah, that ship is saled. Well, 584 00:34:14,760 --> 00:34:17,159 very good, very good. Well, Jim listen, thank you so 585 00:34:17,239 --> 00:34:19,440 much for joining us today and we will definitely do 586 00:34:19,480 --> 00:34:20,800 this again in the future. I'd love to have you 587 00:34:20,840 --> 00:34:22,800 back because it sounds like you're gonna be if you're 588 00:34:22,800 --> 00:34:25,440 gonna be releasing a new single every month, then that's easy. 589 00:34:25,480 --> 00:34:27,960 We will definitely have you back, and we're happy to 590 00:34:28,000 --> 00:34:30,599 also kind of be your your conduit into the American 591 00:34:30,679 --> 00:34:34,480 radio market here because thank you so much. Absolutely absolutely, 592 00:34:34,480 --> 00:34:37,199 because we really love what you're doing. Anything we should 593 00:34:37,199 --> 00:34:39,480 know about this song, Ramona, I think you said in 594 00:34:39,519 --> 00:34:41,000 the email, this is one of your favorites. 595 00:34:43,199 --> 00:34:47,639 Speaker 1: It is. It's absolute nonsense. It's like John Lennon Stall Doggrel. 596 00:34:49,280 --> 00:34:51,280 I read about how David Bowie wrote some of his 597 00:34:51,360 --> 00:34:55,400 songs by just writing. He collected up newspapers and cut 598 00:34:55,400 --> 00:34:58,480 the lines out and then rearrange them like a like 599 00:34:58,519 --> 00:35:00,679 a weird jigsaw, and it it's just that. 600 00:35:00,880 --> 00:35:01,559 Speaker 3: So okay. 601 00:35:01,599 --> 00:35:03,559 Speaker 1: I like the idea that that sort of fate might 602 00:35:03,639 --> 00:35:05,400 lead it to a meaning for someone who's listening, but 603 00:35:05,599 --> 00:35:06,599 for us, it's just fun. 604 00:35:06,719 --> 00:35:10,000 Speaker 3: Okay, okay, no, I like that. So we'll share this 605 00:35:10,039 --> 00:35:12,679 with everybody, and I'm gonna hit that track, but Jim, 606 00:35:12,719 --> 00:35:15,559 we will let you go. Jim from of course Howling Hawk. 607 00:35:15,800 --> 00:35:17,360 Thank you so much. And like I said, you know, 608 00:35:17,400 --> 00:35:23,079 bass players unite, and I really appreciate you joining us 609 00:35:23,119 --> 00:35:24,880 today and I look forward to the next time we 610 00:35:25,320 --> 00:35:25,880 get to speak. 611 00:35:26,639 --> 00:35:28,119 Speaker 1: Thanks man, great talking. 612 00:35:28,079 --> 00:35:32,119 Speaker 3: Absolutely Jim, all right, thank you, take care all right. 613 00:35:32,159 --> 00:35:35,840 That is Jim from the band Howling Hawk and from London. 614 00:35:36,360 --> 00:35:38,519 And let's give this a spin. This is another great 615 00:35:38,519 --> 00:36:16,800 track from them. This is called Ramona. 616 00:36:22,480 --> 00:36:26,199 Speaker 6: Ready to go the mad through me. 617 00:36:27,679 --> 00:36:28,559 Speaker 7: Feel like you. 618 00:36:28,800 --> 00:36:29,760 Speaker 18: All in the. 619 00:36:32,920 --> 00:36:36,599 Speaker 6: Sudden, the sky upstair. 620 00:36:38,199 --> 00:36:40,400 Speaker 18: Gallows aside the. 621 00:37:04,239 --> 00:37:06,079 Speaker 5: Imp walk in. 622 00:37:06,239 --> 00:37:11,679 Speaker 14: The wild wild wood, just try or break the check, 623 00:37:14,360 --> 00:37:26,079 the Sada road on the tail tail out of the cold, 624 00:37:25,760 --> 00:37:26,719 the sort. 625 00:37:30,039 --> 00:37:31,079 Speaker 7: You saw me a. 626 00:37:31,280 --> 00:37:34,360 Speaker 6: Dream and that in suitabird spa. 627 00:37:35,639 --> 00:37:40,119 Speaker 14: Break check, go away so I. 628 00:37:41,079 --> 00:37:42,119 Speaker 7: Can't go back. 629 00:37:42,679 --> 00:37:43,119 Speaker 15: Tell me. 630 00:37:45,400 --> 00:37:49,760 Speaker 10: If I take you about, I can't put it together, 631 00:37:50,519 --> 00:37:53,280 your vacum and I. 632 00:37:53,400 --> 00:37:54,920 Speaker 7: Could dream it forever. 633 00:37:55,840 --> 00:38:00,280 Speaker 18: I could cut out inside in control of boever. 634 00:38:01,320 --> 00:38:05,840 Speaker 7: His love is a cly the good had spoke time. 635 00:38:28,719 --> 00:38:30,920 So wait. 636 00:38:32,599 --> 00:38:36,719 Speaker 5: To so be a dream that to the mod spile 637 00:38:38,159 --> 00:38:41,519 great shake through it the. 638 00:38:41,639 --> 00:38:44,639 Speaker 7: Way back up my back. 639 00:38:45,239 --> 00:38:48,840 Speaker 13: So wait, if i's. 640 00:38:48,599 --> 00:38:53,320 Speaker 10: A gin a love, I can't put it together, Your 641 00:38:53,519 --> 00:38:55,280 fucking man enough. 642 00:38:55,800 --> 00:38:57,519 Speaker 7: I could dream it forever. 643 00:38:58,400 --> 00:39:05,480 Speaker 10: Doctor joins to control out the weather to fres A crowd. 644 00:39:06,199 --> 00:39:08,280 Speaker 7: They could un spoken. 645 00:40:30,199 --> 00:40:35,159 Speaker 16: Read in the fall, James, I've seen more outside the 646 00:40:35,280 --> 00:40:39,760 sap all of this was made when you love. 647 00:40:39,639 --> 00:40:46,840 Speaker 18: Me, HESI called outside. 648 00:40:46,280 --> 00:40:51,360 Speaker 6: With all the old things left behind. Nothing here is 649 00:40:51,679 --> 00:40:53,400 how it's used to be. 650 00:40:57,599 --> 00:40:59,760 Speaker 18: Smoke and felg the sky. 651 00:41:01,119 --> 00:41:02,960 Speaker 6: Jeuz, and please go b. 652 00:41:04,679 --> 00:41:12,159 Speaker 16: Almost under feeding, always feeding, and you be cheat up, will. 653 00:41:14,199 --> 00:41:20,280 Speaker 17: Take me up to make mistakes at you be. 654 00:41:22,400 --> 00:41:25,840 Speaker 10: Above this place, said. 655 00:41:27,679 --> 00:41:30,599 Speaker 17: Dreams, your feet out, dreams you get. 656 00:41:30,599 --> 00:41:31,519 Speaker 7: To keep. 657 00:41:34,559 --> 00:41:57,079 Speaker 22: Downside always as running from all the things I always 658 00:41:57,280 --> 00:41:57,920 have done. 659 00:41:58,440 --> 00:42:02,599 Speaker 7: But all these hide well you stown. 660 00:42:06,239 --> 00:42:07,599 Speaker 18: I'll be smiling. 661 00:42:07,880 --> 00:42:11,639 Speaker 6: Yet is this the best that we can get it? 662 00:42:12,440 --> 00:42:13,679 Speaker 1: How long does it. 663 00:42:13,920 --> 00:42:15,960 Speaker 5: Take to turn this round? 664 00:42:19,880 --> 00:42:24,119 Speaker 18: Smoke us down the scuy jus. 665 00:42:23,800 --> 00:42:25,519 Speaker 6: Say, Queen's gonna buy. 666 00:42:26,880 --> 00:42:33,000 Speaker 16: Almost under feeding it always feed in your benchet. 667 00:42:37,320 --> 00:42:45,920 Speaker 7: Where chake me out to freak mistakes? Shout me be 668 00:42:48,239 --> 00:42:48,800 goove this. 669 00:42:49,079 --> 00:42:51,519 Speaker 6: Case, week said. 670 00:42:53,400 --> 00:42:56,360 Speaker 18: Change your feet out, dreams, you get. 671 00:42:56,360 --> 00:43:01,480 Speaker 7: Ticky side. 672 00:43:03,000 --> 00:43:25,199 Speaker 18: On the side, side shot on the side. 673 00:43:52,840 --> 00:43:55,440 Speaker 6: Think I did it all again? 674 00:43:57,480 --> 00:44:01,480 Speaker 23: I thought those messages were coming all the bread hand 675 00:44:02,280 --> 00:44:03,039 Where you begin? 676 00:44:03,239 --> 00:44:08,280 Speaker 6: Where does this and this painful mess of memory? 677 00:44:08,880 --> 00:44:12,880 Speaker 23: Let it get the best of me? Now you taking 678 00:44:13,000 --> 00:44:18,480 a mine, It's time taking all the space in my mite. 679 00:44:19,280 --> 00:44:20,599 You think that it bathes? 680 00:44:20,960 --> 00:44:21,320 Speaker 17: Fine? 681 00:44:21,840 --> 00:44:29,119 Speaker 6: If I head any mind food, I know what I 682 00:44:29,320 --> 00:44:29,760 gotta do. 683 00:44:32,840 --> 00:44:35,400 Speaker 5: I'm not going bad to. 684 00:44:44,159 --> 00:44:49,800 Speaker 6: The definition of its sanity. It's doing the same thing 685 00:44:49,960 --> 00:44:53,440 over and over again. That sounds like me. You throw 686 00:44:53,519 --> 00:44:58,360 your bits out at bread where I'm not sure what 687 00:44:58,599 --> 00:44:58,800 to do. 688 00:44:59,000 --> 00:45:01,679 Speaker 23: I throw my hand ends up in the air because 689 00:45:01,760 --> 00:45:05,920 you take in a bin inside, take in all that 690 00:45:06,760 --> 00:45:08,880 space in my mind? 691 00:45:09,440 --> 00:45:12,880 Speaker 6: Do you think that in bad? Fine? If my head 692 00:45:13,559 --> 00:45:19,639 handy mind a board, I don't know what I got 693 00:45:19,800 --> 00:45:20,239 a door. 694 00:45:23,119 --> 00:45:47,920 Speaker 24: I'm not going bad, Julia, now in your fast and eating, 695 00:45:52,760 --> 00:45:57,559 except for the part you kept me waiting. 696 00:45:59,039 --> 00:46:00,880 Speaker 6: Dot down. 697 00:46:02,039 --> 00:46:07,519 Speaker 24: I'm sure that I'm still see you around, but I'm 698 00:46:07,559 --> 00:46:08,360 looking down. 699 00:46:09,599 --> 00:46:10,800 Speaker 13: I'm not going. 700 00:46:14,199 --> 00:46:16,039 Speaker 6: On that trip again. 701 00:46:17,719 --> 00:46:24,360 Speaker 7: No, yeah, where. 702 00:46:32,800 --> 00:46:47,280 Speaker 6: Whoa I am taking off? Bad time begin on broad space? 703 00:46:48,280 --> 00:46:53,079 Myn you think that it bes I'm like if that head. 704 00:46:53,559 --> 00:46:55,920 Speaker 7: And you know boat. 705 00:46:58,920 --> 00:47:05,280 Speaker 6: What I gotta do? Who I'm not going back. I'm 706 00:47:05,360 --> 00:47:08,960 not going back. I'm not going back to me. 707 00:47:53,079 --> 00:47:56,599 Speaker 25: If the skies are gray when the day is night, 708 00:47:57,559 --> 00:47:59,079 I can't find my way. 709 00:47:59,719 --> 00:48:02,719 Speaker 5: If the dams night as home. 710 00:48:02,800 --> 00:48:05,400 Speaker 13: Lad you let me shine. 711 00:48:05,079 --> 00:48:07,360 Speaker 17: Your flies part of me. 712 00:48:07,760 --> 00:48:10,639 Speaker 21: I still don't the letther step we. 713 00:48:10,920 --> 00:48:17,239 Speaker 1: Had that every night to turn up lies. 714 00:48:19,480 --> 00:48:21,840 Speaker 25: All these chemies time. 715 00:48:24,360 --> 00:48:26,360 Speaker 5: We don't all skin it right. 716 00:48:28,079 --> 00:48:40,440 Speaker 7: Tall no, why you know, doll No? Why why shit 717 00:48:40,639 --> 00:48:41,159 chose me? 718 00:48:44,400 --> 00:48:45,559 Speaker 6: Why sho't chose me? 719 00:49:04,199 --> 00:49:08,719 Speaker 25: If you're far away, when the day is nine, I 720 00:49:08,920 --> 00:49:13,519 remain the same, just like black and why we should 721 00:49:13,639 --> 00:49:15,599 not assume just why. 722 00:49:15,599 --> 00:49:18,559 Speaker 1: I mean to you a part of me. 723 00:49:18,920 --> 00:49:22,719 Speaker 21: I still don't know her stand We hide in bed 724 00:49:22,840 --> 00:49:31,280 at me night, no need to turn up alive, always 725 00:49:31,360 --> 00:49:32,639 share it in my time. 726 00:49:35,559 --> 00:49:37,480 Speaker 25: We don't always get it right. 727 00:49:39,960 --> 00:49:41,880 Speaker 13: I just want to get it right. 728 00:49:43,000 --> 00:49:56,760 Speaker 6: Why no, no, no, she up me. 729 00:50:00,159 --> 00:50:27,239 Speaker 26: Stop specie. 730 00:50:24,320 --> 00:50:59,400 Speaker 17: Speaking step. 731 00:51:55,719 --> 00:52:00,400 Speaker 2: You are listening to Matt Connerton unleashed w A H 732 00:52:00,559 --> 00:52:01,840 ninety five point three. 733 00:52:19,679 --> 00:52:23,360 Speaker 5: But I'll be the biggest stitch tanta you've seen. 734 00:52:24,000 --> 00:52:24,960 Speaker 13: You can't trust. 735 00:52:25,079 --> 00:52:27,599 Speaker 6: Your eyes will tell you what you believe. 736 00:52:28,199 --> 00:52:31,599 Speaker 1: That choice is something your girls shouldn't have. 737 00:52:32,159 --> 00:52:34,920 Speaker 20: But a few time will play and we'll tell you 738 00:52:35,119 --> 00:52:39,920 where sat what I'm watching you all rage against the machine. 739 00:52:40,599 --> 00:52:44,079 We'll send in the boys, maybe start to get made. 740 00:52:44,800 --> 00:52:48,360 We'll connapt On Levin because the press can't be free. 741 00:52:49,000 --> 00:52:59,639 American boss anywhere away face high can made this Somewheresa 742 00:53:00,159 --> 00:53:07,079 my very todd thief stream hysterical collaughter, watching them fall 743 00:53:07,239 --> 00:53:15,880 with democracy used to be optimistic that history would away 744 00:53:16,079 --> 00:53:20,559 stand as a litmus nour our share at the setting 745 00:53:20,719 --> 00:53:25,920 of the sun. It's a pretty good jinerize up together 746 00:53:26,320 --> 00:53:39,079 as well, the sixth damp January, while of fest they 747 00:53:39,199 --> 00:53:42,559 opened the doors for that peaceful protest. 748 00:53:43,320 --> 00:53:46,760 Speaker 3: Don't mind the tip top cera shut the wall. 749 00:53:47,440 --> 00:53:53,559 Speaker 20: That was sifat in the ball that all consensus. We'll 750 00:53:53,719 --> 00:53:58,599 throw it away waited in me. Everyone should practice to 751 00:53:58,800 --> 00:54:03,079 a well. They show you if you're tied, it away 752 00:54:03,679 --> 00:54:05,519 and if you can't, God help, it. 753 00:54:05,719 --> 00:54:07,320 Speaker 6: Will follow you away. 754 00:54:08,280 --> 00:54:17,760 Speaker 20: I can't listen somewhere outside my revery call me stream 755 00:54:18,320 --> 00:54:26,679 hysterical laughter. Now watching them offfoot democracy. God used to 756 00:54:26,840 --> 00:54:33,719 be optimistic that history would always stand asolutous hour. 757 00:54:33,679 --> 00:54:36,400 Speaker 6: Out here at the setting of the sun. 758 00:54:36,880 --> 00:54:40,719 Speaker 20: It's a pretty good datorized soup together. 759 00:54:57,639 --> 00:55:01,239 Speaker 6: It's a sort serrup read it so porting. 760 00:55:01,719 --> 00:55:04,960 Speaker 20: You would all be all right if you just had 761 00:55:05,079 --> 00:55:07,519 told me I'm probably the greatest. 762 00:55:07,800 --> 00:55:08,679 Speaker 1: Just look at this. 763 00:55:08,960 --> 00:55:12,480 Speaker 13: Wall quite too, Chakra. 764 00:55:15,000 --> 00:55:16,960 Speaker 27: I can name. 765 00:55:18,599 --> 00:55:26,000 Speaker 20: Some whereas side my pivery God me trained hysterical laughter, 766 00:55:26,599 --> 00:55:33,280 and watch enough off with democracy. I used to be 767 00:55:33,679 --> 00:55:38,840 optimistic the history always said as amis. 768 00:55:39,440 --> 00:55:40,440 Speaker 6: Now we're out. 769 00:55:40,440 --> 00:55:42,559 Speaker 5: Here at the setting of the sun. 770 00:55:43,039 --> 00:55:48,039 Speaker 20: It's a pretty good daizon together as had. 771 00:55:50,400 --> 00:55:52,039 Speaker 17: Together as well. 772 00:55:54,519 --> 00:55:59,840 Speaker 6: Together as one grass up as. 773 00:56:09,679 --> 00:56:11,880 Speaker 3: Nana's Kitchen and Pizzaia. 774 00:56:12,239 --> 00:56:18,280 Speaker 6: From Nana's hands to your plate. Tradition, love and taste. 775 00:56:18,400 --> 00:56:21,079 Speaker 5: That's great solow fermented dough. 776 00:56:21,599 --> 00:56:23,559 Speaker 11: Flavors so true. 777 00:56:26,000 --> 00:56:30,199 Speaker 6: Each bite, the story made just for you. 778 00:56:31,239 --> 00:56:35,000 Speaker 3: Six o three two three two nine three six six 779 00:56:35,800 --> 00:56:40,639 Nana's Kitchen and Pizza Reve fifteen Yartmouth Dry Auburn, New Hampshire. 780 00:56:41,159 --> 00:56:45,280 Speaker 6: Nas Kitchen and Hissari. 781 00:56:48,719 --> 00:56:51,000 Speaker 19: Luigi's Pizza Barron grows. 782 00:56:51,000 --> 00:56:52,079 Speaker 6: For every one. 783 00:56:52,800 --> 00:56:57,239 Speaker 28: Let's raise his lye on mine with tomn toll around. 784 00:56:57,800 --> 00:56:59,000 Speaker 6: It's a Pizza. 785 00:56:58,719 --> 00:57:04,679 Speaker 19: Barioma Luigi's Pizza Bar and Grill seven to twelve Valley Street, Manchester. 786 00:57:05,000 --> 00:57:07,840 Come on in or call six two two one zero 787 00:57:08,119 --> 00:57:13,159 two one Luigi keeping the tradition alive since nineteen seventy five. 788 00:57:15,000 --> 00:57:19,480 Speaker 20: Pizza for every one, Come join a beast two nights 789 00:57:20,320 --> 00:57:24,320 with these slye sets of it, everything feels so right. 790 00:57:27,480 --> 00:57:29,679 Speaker 27: In times of crisis, you need a law firm that 791 00:57:29,760 --> 00:57:32,800 stands by your side. With over forty years of experience, 792 00:57:32,960 --> 00:57:36,639 Craigan Getsulus is dedicated to fighting for your rights as 793 00:57:36,679 --> 00:57:39,840 former state prosecutors. Our attorneys have the knowledge and trial 794 00:57:39,920 --> 00:57:43,840 experience to provide an aggressive defense against any charge, from 795 00:57:43,920 --> 00:57:48,199 DUIs to homicides. If you've been injured, our compassionate team 796 00:57:48,239 --> 00:57:51,159 will assess your case and fight for the compensation you deserve. 797 00:57:51,599 --> 00:57:54,519 Serving all of New Hampshire. Craigan Getzulis is here when 798 00:57:54,519 --> 00:57:57,559 you need us most. Visit Craigatzulis dot com for a 799 00:57:57,639 --> 00:58:01,840 free consultation. Craigan getsulus, your advocates, your allies. 800 00:58:02,159 --> 00:58:05,559 Speaker 29: I'll bring your kitchen to life with Queen City Cabinetry, 801 00:58:06,000 --> 00:58:09,719 located at eighty seven Elm Street in the historic Sunbeam 802 00:58:09,800 --> 00:58:13,639 Mall in Manchester, open Monday through Friday nine am to 803 00:58:13,760 --> 00:58:17,639 five thirty pm, in Saturdays ten am to two pm. 804 00:58:18,119 --> 00:58:21,199 They can be reached at six oh three two two 805 00:58:21,360 --> 00:58:24,760 two to zero zero seven or on the web at 806 00:58:24,840 --> 00:58:30,119 Queen Citycabinatree nsh dot com. Come see the possibility is 807 00:58:30,280 --> 00:58:34,679 Queen City Cabinetree. Another crowd sponsor of WMNH. 808 00:58:35,039 --> 00:58:37,840 Speaker 28: Hey everyone, there's Rob Azevedo, host of Grantite State of Mind, 809 00:58:37,840 --> 00:58:39,639 and I want to tell you about Pembrook City Limits 810 00:58:39,679 --> 00:58:42,960 and the historic Suncook Village. PCL's an award winning bar, 811 00:58:43,199 --> 00:58:46,159 restaurant and music venue where there's live music five days 812 00:58:46,159 --> 00:58:49,960 a week and twice on Saturdays, everything from blues, country, folk, funk, 813 00:58:50,039 --> 00:58:52,320 and a whole lot of jazz. We have twelve craft 814 00:58:52,360 --> 00:58:54,679 beers on tap, dedicated to the local brewers in the 815 00:58:54,760 --> 00:58:58,119 area and some of the friendliest bartenders around. Please come 816 00:58:58,199 --> 00:59:00,719 visit Pembrooke City Limits at one thirty one on Main Street, 817 00:59:00,800 --> 00:59:04,559 the historic sun Cook Village, only six miles outside of Manchester. 818 00:59:04,960 --> 00:59:08,400 Open Tuesdays to Wednesdays four to ten, Thursdays to Sunday 819 00:59:08,599 --> 00:59:09,280 eleven to ten. 820 00:59:09,679 --> 00:59:12,119 Speaker 3: Pembrook City Limits, where it's all about the music.