1 00:00:02,759 --> 00:00:06,599 Speaker 1: W M n H will rip the knob off. You're 2 00:00:06,719 --> 00:00:11,359 listening to M and H World Premiere. 3 00:00:22,320 --> 00:00:24,480 Speaker 2: What's that sound? What's that sound? 4 00:00:24,600 --> 00:00:25,760 Speaker 3: Get out my way? 5 00:00:25,760 --> 00:00:30,399 Speaker 4: All burns down, Maxie, scream and shout, hand out, turn 6 00:00:30,519 --> 00:00:34,520 this town around, stop and look this way. 7 00:00:34,799 --> 00:00:35,880 Speaker 3: I made some insupicious. 8 00:00:35,880 --> 00:00:38,399 Speaker 4: What I say is what I say, And this is 9 00:00:38,399 --> 00:00:41,200 a travesty. The earth is treading now and you don't 10 00:00:41,200 --> 00:00:45,399 see the tragedy. It's all blurring all it's one and 11 00:00:45,560 --> 00:00:49,759 dies a blinded. We think it's typical, but that's just 12 00:00:49,840 --> 00:00:50,920 cause what's so shallow? 13 00:00:51,119 --> 00:00:51,799 Speaker 5: My dad? 14 00:00:52,280 --> 00:00:55,759 Speaker 2: What's that sound? What's that sound? Get out my way? 15 00:00:55,759 --> 00:01:00,280 Speaker 4: Oh burns down, make see and scream and shouts on 16 00:01:00,520 --> 00:01:05,359 this town round, pee everywhere, give it to. 17 00:01:05,359 --> 00:01:09,599 Speaker 6: Your parts and nurture ant care for this world of us. 18 00:01:09,760 --> 00:01:14,719 I believe the earth will no longer fall apart. We 19 00:01:14,799 --> 00:01:16,799 conclude little back to cap. 20 00:01:19,040 --> 00:01:21,480 Speaker 4: And find a piece of less forever. 21 00:01:22,319 --> 00:01:23,319 Speaker 5: What's it sound? 22 00:01:23,560 --> 00:01:24,480 Speaker 3: What's it sound? 23 00:01:24,799 --> 00:01:25,560 Speaker 5: Now my way? 24 00:01:25,760 --> 00:01:29,280 Speaker 4: I burns down, Maxie and scream. 25 00:01:28,760 --> 00:01:32,319 Speaker 2: And show a pan outs on this town round. What's 26 00:01:32,319 --> 00:01:34,120 it sound? What's it sound? 27 00:01:34,400 --> 00:01:34,640 Speaker 5: Down? 28 00:01:34,719 --> 00:01:35,159 Speaker 7: My way? 29 00:01:35,319 --> 00:01:39,760 Speaker 4: I burns down, Psye and scream and show a panouts 30 00:01:39,920 --> 00:01:48,879 on this town around. 31 00:01:46,319 --> 00:01:57,560 Speaker 2: What's it town? Turn this town around? What's it sound? 32 00:02:00,760 --> 00:02:01,719 What's it sound? 33 00:02:01,959 --> 00:02:02,840 Speaker 8: What's it south? 34 00:02:03,040 --> 00:02:07,719 Speaker 4: But my way of burst down maxy and screaming shouts, 35 00:02:08,000 --> 00:02:09,120 and I'll turn. 36 00:02:08,919 --> 00:02:11,360 Speaker 3: This town around. What's it sound? 37 00:02:11,560 --> 00:02:12,479 Speaker 2: What's it sound? 38 00:02:12,840 --> 00:02:13,560 Speaker 5: Out my way? 39 00:02:13,759 --> 00:02:18,439 Speaker 4: I burns down, takesy scream and shot, and I'll turn 40 00:02:18,520 --> 00:02:20,639 this town roun. 41 00:02:32,960 --> 00:02:37,919 Speaker 1: You are listening to WUM and H World Premiere. 42 00:02:49,400 --> 00:02:55,759 Speaker 9: Yeah, I told my heart go ahead and break. It's 43 00:02:55,800 --> 00:02:57,080 all about the love. 44 00:02:59,000 --> 00:03:06,560 Speaker 3: Oh goodness. Hey, yeah, I just about died all four feet, 45 00:03:08,360 --> 00:03:14,879 so I told my heart go ahead and break. Yeh 46 00:03:15,159 --> 00:03:18,960 lies mess because see you told me so. 47 00:03:21,280 --> 00:03:27,479 Speaker 9: I've learned some things I wish I didn't know. Yeah, 48 00:03:27,840 --> 00:03:37,080 looked so good until it warns that hurts spat yet 49 00:03:37,159 --> 00:03:44,479 it's so burned. SMI told my heart go ahead and break. 50 00:03:46,159 --> 00:03:52,759 It's all about the love. For goodness, safe you have 51 00:03:53,080 --> 00:03:54,840 the spoul died. 52 00:03:55,800 --> 00:04:02,879 Speaker 3: Oh for feet, So I told my art go ahead 53 00:04:02,960 --> 00:04:08,159 and break. It was like a dream. 54 00:04:08,199 --> 00:04:12,719 Speaker 1: She was so beautiful, so full of life. 55 00:04:14,759 --> 00:04:16,040 Speaker 8: It was wonderful. 56 00:04:17,639 --> 00:04:22,160 Speaker 9: Then came the day when she took her leave. 57 00:04:24,079 --> 00:04:25,720 Speaker 3: Man, it broke me up. 58 00:04:27,160 --> 00:04:28,639 Speaker 8: Like you would not believe. 59 00:04:30,360 --> 00:04:32,240 Speaker 3: That's why I told my heart. 60 00:04:33,720 --> 00:04:38,879 Speaker 9: Go ahead and break. It's all about the love. 61 00:04:40,079 --> 00:04:48,160 Speaker 3: For goodness sake. Yeah, just about died all for faith. 62 00:04:49,319 --> 00:04:55,480 Speaker 9: So I told my heart your head and break, Yeah, 63 00:04:55,839 --> 00:05:04,199 go on, break, go on and cry. Y'all cat broken, 64 00:05:05,279 --> 00:05:12,000 And I don't know why. Sometimes we get more than 65 00:05:12,079 --> 00:05:12,759 me can take. 66 00:05:14,600 --> 00:05:24,279 Speaker 3: That's why I told my heart go ahead, break. Yeah. 67 00:05:24,319 --> 00:05:30,040 I told myself go ahead and cry. 68 00:05:31,240 --> 00:05:35,079 Speaker 9: Let the tears fall from your eyes. 69 00:05:36,519 --> 00:05:39,839 Speaker 3: Wise then once told. 70 00:05:39,240 --> 00:05:41,279 Speaker 9: Me everybody lies. 71 00:05:43,000 --> 00:05:47,759 Speaker 1: That's why I told myself go ahead and cry. 72 00:05:49,319 --> 00:05:51,319 Speaker 8: And I told my heart. 73 00:05:52,600 --> 00:05:53,959 Speaker 3: Go ahead, break. 74 00:05:55,639 --> 00:06:05,920 Speaker 10: So I told my heart, go ahead, go ahead. 75 00:06:06,279 --> 00:06:06,759 Speaker 3: Bray. 76 00:06:10,279 --> 00:06:14,199 Speaker 8: That's so good. Another world radio premiere here at wu 77 00:06:14,360 --> 00:06:16,920 m n H ninety five point three FM on Matt 78 00:06:16,959 --> 00:06:19,759 Connorton Unleashed. That is go ahead and break. That is 79 00:06:19,800 --> 00:06:23,399 the Murphy Clark Band. Guys, Okay, right out of the gate. 80 00:06:23,639 --> 00:06:25,439 What's the correct way to say is it? Do I 81 00:06:25,480 --> 00:06:27,959 say Murphy Clark or is it the Murphy Clark Band? 82 00:06:28,040 --> 00:06:31,360 Speaker 1: Yes, either one is. Finally, are whatever you want to 83 00:06:31,360 --> 00:06:32,920 call it Murphy Clark. 84 00:06:33,680 --> 00:06:37,040 Speaker 8: Okay, So Jenny and I are joined live in studio 85 00:06:37,079 --> 00:06:39,839 by of course, Brian Murphy. Brian Murphy and Mike Clark. 86 00:06:40,079 --> 00:06:41,920 Is probably not Murphy, right, because then it would be 87 00:06:41,920 --> 00:06:45,480 the Murphy Clark right, Brian Murphy and Mike Clark, you're 88 00:06:45,800 --> 00:06:48,639 in studio and uh I love that track and of 89 00:06:48,680 --> 00:06:51,000 course as you as you witnessed, I could not help 90 00:06:51,040 --> 00:06:53,040 but sing along with it. And that's how you know 91 00:06:53,079 --> 00:06:55,120 you've got something right on the point, right, Yeah, when 92 00:06:55,160 --> 00:06:57,079 you when you play something for somebody and they can't 93 00:06:57,079 --> 00:06:59,560 help it sing along like it's not even like it's 94 00:06:59,600 --> 00:07:01,040 not like, oh I think I'll sing along to this. 95 00:07:01,079 --> 00:07:03,680 It's just an involuntary motion, you know. 96 00:07:04,600 --> 00:07:06,959 Speaker 1: But yeah, yeah, that's who we hope for. 97 00:07:07,160 --> 00:07:09,839 Speaker 8: Absolutely, and we'll play some more of your stuff as 98 00:07:09,879 --> 00:07:12,199 we as we go along. But it's great to have 99 00:07:12,240 --> 00:07:12,720 you guys here. 100 00:07:12,920 --> 00:07:14,720 Speaker 1: Thank you for having us and thank you for doing this. 101 00:07:14,959 --> 00:07:15,120 Speaker 8: Oh. 102 00:07:15,160 --> 00:07:18,240 Speaker 1: Absolutely no local bands need the support. 103 00:07:18,360 --> 00:07:20,879 Speaker 8: Absolutely absolutely, well, we love it and there's so much 104 00:07:21,480 --> 00:07:23,680 you know, Jenny does all the booking and sometimes people 105 00:07:23,680 --> 00:07:25,519 will ask her, you know, where do you find all 106 00:07:25,560 --> 00:07:26,399 these great artists? 107 00:07:26,399 --> 00:07:29,879 Speaker 1: And it's so much talent around around here. Absolutely, you 108 00:07:29,879 --> 00:07:33,079 know it's incredible. You just use the word yeah, yeah, 109 00:07:33,160 --> 00:07:35,120 I looked it up this morning. Don't ask me to 110 00:07:35,160 --> 00:07:37,600 spell it though, is a great word? 111 00:07:37,680 --> 00:07:40,000 Speaker 8: Yes, yes, mean. 112 00:07:41,720 --> 00:07:46,600 Speaker 1: A lot of yeah, you know, sometimes Brian needs help. 113 00:07:47,000 --> 00:07:52,439 Speaker 8: Yeah, well we all need help something. Yeah, yeah, no, 114 00:07:52,560 --> 00:07:54,240 I love it. You guys have a great sound. I 115 00:07:54,439 --> 00:07:57,279 feel like kind of the secret weapon is the vocals 116 00:07:57,319 --> 00:08:01,199 and the harmonies and everything is and has this project existed? 117 00:08:01,240 --> 00:08:02,560 Have you guys been at this a while or is 118 00:08:02,600 --> 00:08:03,360 this new or. 119 00:08:04,199 --> 00:08:07,319 Speaker 11: We've been collaborating for about thirty years? 120 00:08:07,560 --> 00:08:08,680 Speaker 1: I think we started working. 121 00:08:09,000 --> 00:08:09,639 Speaker 8: That's been a while. 122 00:08:10,399 --> 00:08:13,439 Speaker 1: Yeah he started. You weren't even born, Matt, I think. 123 00:08:13,680 --> 00:08:15,959 Speaker 8: Oh, my goodness, probably I probably was. 124 00:08:16,000 --> 00:08:21,199 Speaker 11: But you know, we started, you know, way back in 125 00:08:21,240 --> 00:08:24,480 the day in the mid nineties, I was I was 126 00:08:24,560 --> 00:08:27,480 recording with Aquatanang was the name of the band. We 127 00:08:27,480 --> 00:08:31,279 were with Sony and Manhattan back in the big record days. 128 00:08:31,360 --> 00:08:34,960 Oh no, kidding, and you know we we worked there 129 00:08:34,960 --> 00:08:38,399 and then I wanted to find somebody local. So I 130 00:08:38,399 --> 00:08:40,279 did a session with Mike and I really liked the 131 00:08:40,279 --> 00:08:43,519 way he mixed, okay, and so we started working back then. 132 00:08:43,600 --> 00:08:47,279 He started running sound for us with Aquatanang and then 133 00:08:48,000 --> 00:08:52,440 started doing records together. You know, at that point we've 134 00:08:52,440 --> 00:08:53,399 been doing him ever since. 135 00:08:53,600 --> 00:08:55,840 Speaker 1: Okay, okay, that was in a bridge version. 136 00:08:56,720 --> 00:09:01,080 Speaker 11: I sped it up a little bit, so but yeah, 137 00:09:01,080 --> 00:09:02,159 that's that's how it's done. 138 00:09:02,159 --> 00:09:05,639 Speaker 1: You know, a bit more from there. Okay, yeah, okay, 139 00:09:06,000 --> 00:09:09,080 people change, you know, members changed, and the sound of 140 00:09:09,120 --> 00:09:12,320 the band changed. We went we're all electric now. Yeah 141 00:09:12,519 --> 00:09:16,159 that Aquatang was all acoustics. Oh yeah, yeah, so folks 142 00:09:16,200 --> 00:09:17,759 Dylan did it, We figured we could do it. 143 00:09:17,840 --> 00:09:18,080 Speaker 8: Yeah. 144 00:09:18,240 --> 00:09:23,639 Speaker 11: Yeah, so that actually because before you know, after Aquatanang, 145 00:09:23,679 --> 00:09:28,200 well with Aquatanang, Mike started to do percussion for us, 146 00:09:28,639 --> 00:09:32,919 work his way in. And then after that we decided 147 00:09:32,960 --> 00:09:36,639 to start a different project of the first iteration of 148 00:09:37,000 --> 00:09:40,120 Murphy Clark, which was Americana, right bass. 149 00:09:40,159 --> 00:09:41,600 Speaker 1: I played the mandola. 150 00:09:41,159 --> 00:09:41,799 Speaker 8: Oh no kidding. 151 00:09:41,879 --> 00:09:44,639 Speaker 11: Yeah, And we did that, I think like twelve years 152 00:09:44,840 --> 00:09:46,200 until COVID hit Yeah. 153 00:09:46,080 --> 00:09:49,320 Speaker 1: And that wiped everything. Yeah yeah, yeah. 154 00:09:49,399 --> 00:09:52,600 Speaker 11: Our our guitar player had like fourteen kids and yeah 155 00:09:52,679 --> 00:09:56,840 then so we so then, uh, Mike's always wanted to 156 00:09:56,840 --> 00:10:00,360 go electric anyway, the acoustic thing was my thing. So yeah, 157 00:10:00,399 --> 00:10:03,000 you know, during the pandemic when we had the shutdown, 158 00:10:03,320 --> 00:10:06,120 it was just he and I and we sort of 159 00:10:06,120 --> 00:10:08,320 broke the rules and I kept going into the studio 160 00:10:08,639 --> 00:10:10,840 and we just started doing studio stuff, and. 161 00:10:10,759 --> 00:10:12,879 Speaker 1: I kept handing him an electric See I'm in a 162 00:10:13,000 --> 00:10:16,639 rocker from way back when nothing wrong with acoustic stuff. 163 00:10:17,320 --> 00:10:19,360 Speaker 11: So he kept saying, you know, so I took a 164 00:10:19,360 --> 00:10:21,639 couple of years and you know, got comfortable with the 165 00:10:21,679 --> 00:10:25,960 electric guitar. And now we have a new format with 166 00:10:26,360 --> 00:10:29,600 you know, but some of the like the female vocals, Uh, 167 00:10:29,960 --> 00:10:33,039 Marion and Cindy have been with us of course since 168 00:10:33,080 --> 00:10:33,799 the awkward. 169 00:10:35,000 --> 00:10:35,039 Speaker 4: O. 170 00:10:35,440 --> 00:10:38,720 Speaker 11: So four of us have been together since all that time. 171 00:10:39,600 --> 00:10:42,080 And now we have Gary Young who's a world class 172 00:10:42,159 --> 00:10:45,080 lead guitar player. He does a wonderful job is on 173 00:10:45,159 --> 00:10:48,279 the guitar now, Jeff Harrington on drums. 174 00:10:47,960 --> 00:10:49,360 Speaker 1: Who who owns Indy Music. 175 00:10:49,639 --> 00:10:51,600 Speaker 11: He owned Cindy Music in Amherst. 176 00:10:52,440 --> 00:10:56,559 Speaker 1: That a little bit drum there, Yeah, yeah, yeah, okay, 177 00:10:56,720 --> 00:11:00,639 I teach voice there, voice teacher there. Yeah. Yeah. We 178 00:11:00,679 --> 00:11:01,000 love it. 179 00:11:01,200 --> 00:11:04,919 Speaker 8: Yeah yeah. The music all the time. Oh that's great. Yeah, 180 00:11:04,919 --> 00:11:05,360 that's great. 181 00:11:05,440 --> 00:11:08,519 Speaker 11: Yeah, that's tremendous, you know. I mean and as a 182 00:11:08,559 --> 00:11:12,360 songwriter too, and you know, doing music to accompany other 183 00:11:12,480 --> 00:11:14,960 singers with every kind of song you can think of, 184 00:11:15,759 --> 00:11:19,080 it really helps you see chord progressions, melodies, all kinds 185 00:11:19,120 --> 00:11:19,799 of things like that. 186 00:11:19,960 --> 00:11:21,919 Speaker 1: Yeah, So it gives you a real heightened. 187 00:11:21,600 --> 00:11:24,960 Speaker 11: Understanding of songs and music and all that you know, 188 00:11:25,000 --> 00:11:27,240 and you just never know what you're going to get 189 00:11:27,279 --> 00:11:32,919 everything from Taylor Swift till like granddaddy, sure whatever, you know. Yeah, 190 00:11:32,960 --> 00:11:35,279 so yeah, that's so it's been great. 191 00:11:35,600 --> 00:11:37,919 Speaker 8: And so you guys have worked together pretty consistently then 192 00:11:37,960 --> 00:11:41,039 over the decades. Yeah, that's amazing. Yeah, you don't see 193 00:11:41,080 --> 00:11:43,279 that a lot. I mean, you know, we have sometimes 194 00:11:43,360 --> 00:11:45,360 a lot of bands on the show that people who 195 00:11:45,360 --> 00:11:47,200 have worked together for a long time, but they've worked together, 196 00:11:47,240 --> 00:11:49,039 but then not work together for a long time and 197 00:11:49,039 --> 00:11:50,759 then kind of reunited. But it sounds like you guys 198 00:11:50,799 --> 00:11:51,759 have been pretty consistent. 199 00:11:51,919 --> 00:11:52,279 Speaker 1: Yeah. 200 00:11:52,360 --> 00:11:55,120 Speaker 11: We have over one hundred and fifty published songs. 201 00:11:55,120 --> 00:11:59,200 Speaker 1: Actually, oh my god, wow, yeah, two of them. 202 00:12:01,960 --> 00:12:07,840 Speaker 8: Kidding, Now, what's the what's the live situation? Like, do 203 00:12:07,840 --> 00:12:10,000 you guys play out a lot or what's uh we're 204 00:12:10,039 --> 00:12:12,360 getting there. Yeah, we're kind of studio rats. 205 00:12:12,480 --> 00:12:15,799 Speaker 1: But you know, we we played a few shows at 206 00:12:15,799 --> 00:12:17,759 Being into the Air and we'll getting our show together 207 00:12:17,759 --> 00:12:20,000 and we have some booked towards the end of the season, 208 00:12:20,720 --> 00:12:21,279 end of the summer. 209 00:12:21,559 --> 00:12:25,039 Speaker 11: Yeah, one in mont Vernon on the twenty third, okay, 210 00:12:25,519 --> 00:12:27,360 in the town Square in mont Vernon. 211 00:12:27,399 --> 00:12:27,960 Speaker 8: Oh, excellent. 212 00:12:28,120 --> 00:12:31,519 Speaker 11: July twenty third, and that's at six. And then we 213 00:12:31,600 --> 00:12:35,159 have two shows in August, one at the Prayers of 214 00:12:35,279 --> 00:12:36,519 Nature the listening room there. 215 00:12:36,600 --> 00:12:40,639 Speaker 8: Oh yes, you've got her right here. Oh yeah, what's 216 00:12:40,720 --> 00:12:43,360 that show? Yeah yeah, she's brought two or three times. 217 00:12:43,720 --> 00:12:45,320 Speaker 1: She's a big supporter of local music. 218 00:12:45,480 --> 00:12:50,320 Speaker 11: I love that absolutely, like you dedicated and devoted to musicians, 219 00:12:50,320 --> 00:12:53,720 and we honor that. That's a great thing. Yeah, I 220 00:12:53,759 --> 00:12:58,000 mean and so and then the that's the August eighth. 221 00:12:58,039 --> 00:13:01,600 We're there and I think it's Andre Sistitute. Yeah, that's 222 00:13:01,639 --> 00:13:04,679 the twenty fourth. Okay, that's it in Brookline. That's a 223 00:13:04,720 --> 00:13:05,679 really nice room too. 224 00:13:05,799 --> 00:13:07,960 Speaker 1: There. It used to be an old club called the 225 00:13:07,960 --> 00:13:10,240 Big Beer, like seventies. I used to play there and 226 00:13:10,279 --> 00:13:11,279 they're in the seventies. 227 00:13:11,279 --> 00:13:11,679 Speaker 8: Oh wow. 228 00:13:11,759 --> 00:13:14,000 Speaker 1: Yeah. And they reopened at the Art Institute part in. 229 00:13:14,000 --> 00:13:17,360 It's an amazing room. Oh cool, Yeah, great. What's it 230 00:13:17,440 --> 00:13:20,200 called the Andres Institute. It used to be the Big 231 00:13:20,200 --> 00:13:26,639 Beer a longe okay, like long time ago. Yeah. 232 00:13:26,679 --> 00:13:30,000 Speaker 8: What is so from from the perspective of you guys, 233 00:13:30,039 --> 00:13:33,639 what what has changed about? And this is something that 234 00:13:33,639 --> 00:13:36,120 comes up on the show a lot, is what has 235 00:13:36,200 --> 00:13:38,080 changed over the years as far as making music and 236 00:13:38,279 --> 00:13:40,159 and promoting music. 237 00:13:39,919 --> 00:13:41,759 Speaker 1: And don't get me going on that. I guess my 238 00:13:41,799 --> 00:13:43,879 studio has been opened for forty years. 239 00:13:44,120 --> 00:13:46,279 Speaker 8: Okay, so I'm really curious to get your perspective. Yeah, 240 00:13:46,320 --> 00:13:48,919 because everything's you know, obviously, the Internet changed everything. 241 00:13:49,000 --> 00:13:51,759 Speaker 1: I mean when we started making records, we were using tape. 242 00:13:52,039 --> 00:13:52,440 Speaker 8: Yeah. 243 00:13:52,519 --> 00:13:55,879 Speaker 1: Yeah. Our editing capabilities was to raise blade and some 244 00:13:55,919 --> 00:13:56,799 splicing tape. 245 00:13:56,919 --> 00:13:57,200 Speaker 8: Yeah. 246 00:13:57,240 --> 00:14:00,720 Speaker 1: You know, so it's changed so much. Yeah, you know. Yeah, 247 00:14:00,720 --> 00:14:02,080 it's easy to make records now. 248 00:14:02,240 --> 00:14:02,720 Speaker 8: Yeah. 249 00:14:02,840 --> 00:14:05,720 Speaker 1: I mean Billie Eilish want five Grammys off something she 250 00:14:05,720 --> 00:14:08,320 made in her bedroom. Yep. You know. So it's just 251 00:14:08,559 --> 00:14:11,799 everything's changed in the music business. Yeah, some good things, 252 00:14:11,799 --> 00:14:13,320 some bad things, right. 253 00:14:13,519 --> 00:14:16,960 Speaker 8: Right, Yeah, I think I think overall it's for the better. Right. 254 00:14:17,120 --> 00:14:19,399 Speaker 1: Oh. Absolutely? You know I love digital. 255 00:14:19,559 --> 00:14:19,799 Speaker 8: Yeah. 256 00:14:19,879 --> 00:14:22,159 Speaker 1: You couldn't pay me to go back to tape. I 257 00:14:22,240 --> 00:14:24,440 used to teach audio engineering at a tech school and 258 00:14:24,519 --> 00:14:26,320 all the kids would be like, I'm going to open 259 00:14:26,360 --> 00:14:29,360 a studio and do analog tape. And I was like, dudes, 260 00:14:29,399 --> 00:14:31,600 you've never touched a piece of tape. You don't want 261 00:14:31,600 --> 00:14:33,360 to do that. You don't want to go back there. 262 00:14:33,559 --> 00:14:35,320 Speaker 11: Yeah, you certainly don't want to go back to a 263 00:14:35,480 --> 00:14:37,679 dat's Yeah. 264 00:14:37,799 --> 00:14:40,759 Speaker 8: Yeah, when I was a kid, I actually remember a 265 00:14:40,799 --> 00:14:42,879 friend of mine had a reel to reel tape and 266 00:14:42,919 --> 00:14:45,200 I remember, you know, trying to. Of course, I screwed 267 00:14:45,240 --> 00:14:47,279 it all up and I remember trying to like shoee 268 00:14:47,320 --> 00:14:49,240 and yeah it was fun. 269 00:14:49,480 --> 00:14:52,639 Speaker 1: Yeah, you know, I kind of appreciate those years though, 270 00:14:52,639 --> 00:14:56,600 because you know, I learned my skill from sort of 271 00:14:56,639 --> 00:14:59,600 the prehistoric way of recording to what it is now. 272 00:14:59,639 --> 00:15:03,080 Speaker 11: And yeah, well I think it's really enhanced your mixing ability, 273 00:15:03,519 --> 00:15:06,519 you know what I mean, Like because in those days, 274 00:15:06,759 --> 00:15:08,360 you know, when you go into the studio, you had 275 00:15:08,399 --> 00:15:09,320 to rebuild the mix. 276 00:15:09,399 --> 00:15:10,679 Speaker 1: Yeah, you don't have total recall. 277 00:15:11,279 --> 00:15:13,559 Speaker 11: So now everything pops up where you left it, which 278 00:15:13,559 --> 00:15:16,159 I love, you know what I mean. But he used 279 00:15:16,159 --> 00:15:18,399 to have to rebuild the mix from scratch all day, 280 00:15:18,600 --> 00:15:19,480 So that's really. 281 00:15:19,240 --> 00:15:21,480 Speaker 1: Good for you. Bring bring up the bass, you know, 282 00:15:21,600 --> 00:15:23,399 so you're doing that all day long, and the modern 283 00:15:23,440 --> 00:15:26,159 engineers don't have to do that. Right boom it's back, 284 00:15:26,679 --> 00:15:27,360 you know, right. 285 00:15:27,679 --> 00:15:30,480 Speaker 11: Yeah, And the audience has changed too, you know what 286 00:15:30,519 --> 00:15:32,159 I mean. People have a lot more you know, like 287 00:15:32,200 --> 00:15:34,919 if like the nineties were kind of a golden age, right, 288 00:15:36,320 --> 00:15:40,399 you know, people bought CDs. You know, they bought CDs 289 00:15:40,399 --> 00:15:42,440 at your show or whatever like that. They listen to 290 00:15:42,480 --> 00:15:45,440 the CDs all the tracks, you know. Now it's different. 291 00:15:45,440 --> 00:15:50,000 People have a lot more entertainment options, you know, so 292 00:15:50,159 --> 00:15:53,159 music isn't king like it used to be, you know 293 00:15:53,159 --> 00:15:56,600 what I mean. But but I love the new format 294 00:15:56,679 --> 00:16:00,360 because you know, we get paid. You can get played 295 00:16:00,440 --> 00:16:03,279 all over the world, you know what I mean. I 296 00:16:03,320 --> 00:16:07,320 get royalty checks from ask Cap and Albania and things 297 00:16:07,360 --> 00:16:09,519 like that, you know, play were it played all over 298 00:16:09,559 --> 00:16:11,440 the world, you know, which is very interesting. 299 00:16:11,519 --> 00:16:12,960 Speaker 1: Yeah, oh yeah, you don't have to get into the 300 00:16:13,000 --> 00:16:15,039 record in the six store anymore. 301 00:16:14,919 --> 00:16:17,919 Speaker 11: Right right, yeah, and if you didn't sell somebody your record, 302 00:16:18,159 --> 00:16:21,000 they didn't have it. Now, you know, It's which I love. 303 00:16:21,080 --> 00:16:23,080 You know, you get played on YouTube, you get played 304 00:16:23,080 --> 00:16:25,960 on Spotify, which all our music get played here. 305 00:16:26,159 --> 00:16:29,080 Speaker 8: Yeah yeah yeah. Well also, you know, from the perspective 306 00:16:29,080 --> 00:16:32,480 we were talking about this earlier because we had on 307 00:16:32,600 --> 00:16:35,480 our first guests were from Ireland Moonlight eclips, and you know, 308 00:16:35,519 --> 00:16:38,559 obviously that wouldn't have happened pre Internet, right, you know, 309 00:16:38,600 --> 00:16:41,559 unless they were already famous. Right, But but doing this 310 00:16:41,639 --> 00:16:44,559 show too, you know, we were obviously We're in Manchester, 311 00:16:44,600 --> 00:16:47,440 New Hampshire at this this beautiful radio station WM and 312 00:16:47,480 --> 00:16:50,240 ah beautiful. But we have listeners all over the world 313 00:16:50,840 --> 00:16:53,000 and you know, we have people who are listening from 314 00:16:53,039 --> 00:16:54,559 Ireland in the in the chat. 315 00:16:54,360 --> 00:16:56,240 Speaker 1: Room and and uh amazing. 316 00:16:56,480 --> 00:17:00,200 Speaker 8: You know, it's the ability to connect with with pole 317 00:17:00,240 --> 00:17:04,319 globally is is just fantastic. And music is you know, 318 00:17:04,400 --> 00:17:08,759 the the international language anyway, So you know, it's wonderful 319 00:17:08,799 --> 00:17:12,079 as far as doing something like this and and what 320 00:17:12,480 --> 00:17:15,799 like what are because Mike you you alluded to some somethings. 321 00:17:16,319 --> 00:17:17,319 Something's for the. 322 00:17:17,319 --> 00:17:19,599 Speaker 1: Better right overall? But absolutely well, what have what have? 323 00:17:19,720 --> 00:17:22,160 Speaker 8: What have we? Is there something we've lost along the 324 00:17:22,200 --> 00:17:22,559 way with. 325 00:17:23,519 --> 00:17:25,440 Speaker 1: I think we've lost a lot of the soul in 326 00:17:25,519 --> 00:17:27,720 our music, you know, because you know, and I'm not 327 00:17:27,759 --> 00:17:31,839 putt we use computers and samples and you know, we 328 00:17:31,920 --> 00:17:34,759 integrate them with real playing. But a lot of it's 329 00:17:34,960 --> 00:17:38,319 it seems like soulless to me, it's too much, too mechanical. 330 00:17:38,359 --> 00:17:41,240 Speaker 11: Sometimes, Okay, I don't know, you know, because mostly you 331 00:17:41,279 --> 00:17:44,279 know a lot of it is pre existing tracks. You know, 332 00:17:44,319 --> 00:17:47,880 people are dragging and dropping and the level of musicianship 333 00:17:47,920 --> 00:17:50,119 is different, right if you're dragging in all your track 334 00:17:50,480 --> 00:17:53,480 your tracks and dropping them and then singing something over it. 335 00:17:53,799 --> 00:17:56,519 It's not the same thing as people sitting over a 336 00:17:56,559 --> 00:17:59,480 piano or over a guitar bent over there for years 337 00:17:59,519 --> 00:18:02,079 like how to play right, and all that music is 338 00:18:02,119 --> 00:18:05,759 going through them, through their heart, their soul, their their mind. Yeah, 339 00:18:06,119 --> 00:18:08,400 if you drag and drop stuff, you drag it, you 340 00:18:08,400 --> 00:18:10,759 you and then sing over it. It's not it's not 341 00:18:10,960 --> 00:18:13,079 going through you, and it's not a development. 342 00:18:13,519 --> 00:18:16,440 Speaker 1: And of course AI is going to push that narrative 343 00:18:16,480 --> 00:18:17,039 even more. 344 00:18:17,119 --> 00:18:20,160 Speaker 8: Oh yeah, you know it already. Yeah, it already is 345 00:18:20,240 --> 00:18:24,440 absolutely Suno dot com. We've used that on the show. 346 00:18:24,559 --> 00:18:25,319 Speaker 1: It's incredible. 347 00:18:25,400 --> 00:18:25,680 Speaker 8: It is. 348 00:18:26,079 --> 00:18:29,640 Speaker 1: The recording sounds amazing. I know they're formulaic because it's 349 00:18:29,680 --> 00:18:32,319 machine learning, but yeah, you know, if you ask it 350 00:18:32,400 --> 00:18:34,839 to do a country song, it sounds like modern country. 351 00:18:34,920 --> 00:18:35,279 Speaker 8: It does. 352 00:18:35,400 --> 00:18:36,160 Speaker 1: It's incredible. 353 00:18:36,240 --> 00:18:39,279 Speaker 8: Yeah, you know, yeah, yeah, we tried it on. Uh 354 00:18:39,519 --> 00:18:41,200 we did kind of a live demonstration of it on 355 00:18:41,240 --> 00:18:42,519 the show, because we talked about that a lot of 356 00:18:42,680 --> 00:18:44,640 on the show AI and the effect of it on 357 00:18:44,680 --> 00:18:48,039 the music industry, and so we Uh, it was something 358 00:18:48,079 --> 00:18:49,920 I'd kind of had in my back pocket for for 359 00:18:49,960 --> 00:18:52,200 a long time an idea. You know, sometime when we 360 00:18:52,240 --> 00:18:55,240 have a segment, maybe a guest cancels or something. You know, 361 00:18:55,240 --> 00:18:56,920 there's always things going on in the music industry, so 362 00:18:56,960 --> 00:18:58,319 there's always things to talk about. So I was like, 363 00:18:58,400 --> 00:19:00,519 you know what, let's try uh, let's try this. We'll 364 00:19:00,519 --> 00:19:02,880 make a song using SUNO and just see what happens. 365 00:19:03,079 --> 00:19:05,359 Speaker 1: Kind of fun lyrics for it. 366 00:19:05,440 --> 00:19:05,599 Speaker 12: Oh. 367 00:19:05,640 --> 00:19:07,119 Speaker 8: We Well, what we did was, you know, we just 368 00:19:07,119 --> 00:19:09,720 put in a bunch of prompts, you know, and and 369 00:19:09,759 --> 00:19:12,119 see what it spits out right. And Jenny and I both, 370 00:19:12,200 --> 00:19:16,039 you know, we we uh just sat here kind of gobsmacked, like, wow, 371 00:19:16,279 --> 00:19:19,960 this is even better than we would have expected. 372 00:19:20,400 --> 00:19:20,640 Speaker 1: Yeah. 373 00:19:21,240 --> 00:19:23,720 Speaker 11: No, I feel like, I mean, it's John Henry's style 374 00:19:23,839 --> 00:19:26,279 battle with a I, you know, call what I use 375 00:19:26,559 --> 00:19:26,799 RI I. 376 00:19:28,160 --> 00:19:29,880 Speaker 1: Yeah, we used a lot of A I in my 377 00:19:29,960 --> 00:19:32,920 studio though. You know, it's incredible tools to like check 378 00:19:32,960 --> 00:19:37,920 tonal balance on or you know, you know, remove noise 379 00:19:38,039 --> 00:19:40,559 or anything like that. It's great tools for it, you know. 380 00:19:40,759 --> 00:19:44,839 Speaker 8: Yeah, but absolutely yeah. And I assume so everything you 381 00:19:44,839 --> 00:19:46,880 guys have done is recorded there, I assume Yeah. 382 00:19:46,960 --> 00:19:50,519 Speaker 1: Yeah, yeah, creative my studio, Yeah yeah, yeah, No. 383 00:19:50,680 --> 00:19:52,400 Speaker 8: It sounds it sounds fantastic. 384 00:19:52,440 --> 00:19:52,839 Speaker 1: Oh. Thanks. 385 00:19:52,920 --> 00:19:53,960 Speaker 8: Where is your studio? 386 00:19:54,039 --> 00:19:59,480 Speaker 1: It's yeah, yeah, what's it called Clark Creative? Clark Creative, Yeah, 387 00:19:59,480 --> 00:20:02,279 and I've been there. I'm celebrating my fortieth the anniversary. 388 00:20:02,640 --> 00:20:05,000 Speaker 8: Congratulations. Yeah, yeah, that's awesome. 389 00:20:05,279 --> 00:20:08,720 Speaker 1: Could argue be the longest running commercial studio in New England. 390 00:20:08,880 --> 00:20:11,000 I don't know, it's a long time. 391 00:20:11,960 --> 00:20:17,759 Speaker 8: You know what's interesting about that is people. One of 392 00:20:17,799 --> 00:20:21,359 the things I find that's interesting about getting older is 393 00:20:21,400 --> 00:20:25,640 just seeing like what technologies change, what technologies go away, 394 00:20:25,880 --> 00:20:31,240 what technologies stick around, but also sometimes what people thought 395 00:20:31,400 --> 00:20:34,640 was going to change but doesn't change. And one of 396 00:20:34,640 --> 00:20:39,200 the things that has not changed as much is recording 397 00:20:39,319 --> 00:20:41,559 in terms of there's still a lot of really good 398 00:20:41,559 --> 00:20:46,119 recording studios around. Like you're obviously still thriving. You're celebrating 399 00:20:46,160 --> 00:20:47,759 forty years at Clark Creative. 400 00:20:47,799 --> 00:20:48,000 Speaker 1: Yeah. 401 00:20:48,000 --> 00:20:50,119 Speaker 8: And the reason I bring that up is because, you know, 402 00:20:50,160 --> 00:20:52,319 that's one of the things people predicted, you know, with 403 00:20:52,359 --> 00:20:55,880 the advent of home recording and then all the technology 404 00:20:55,920 --> 00:20:56,200 that we. 405 00:20:56,240 --> 00:21:00,400 Speaker 1: Have now see a lot of beings integrate that with though, 406 00:21:00,440 --> 00:21:02,640 like the band you're having on next week, Yeah, they'll 407 00:21:02,640 --> 00:21:05,559 come in and do their drum tracks with me or 408 00:21:05,599 --> 00:21:08,839 their rhythm section. They'll take it home, bring the files 409 00:21:08,880 --> 00:21:10,799 home and do all the close micing stuff like the 410 00:21:10,880 --> 00:21:14,240 vocals guitars because a lot of people use modeling now 411 00:21:14,279 --> 00:21:16,920 for guitars. Yeah, and then they bring it back to 412 00:21:16,960 --> 00:21:20,799 me for mixing. So you know, you know, you can 413 00:21:20,880 --> 00:21:23,200 run away from it, but you have to learn how 414 00:21:23,200 --> 00:21:25,960 to integrate that into your business, right right. 415 00:21:26,039 --> 00:21:29,319 Speaker 8: Yeah. Yeah, So in your experience over the past forty 416 00:21:29,400 --> 00:21:32,000 well in more recent years with all this technology, are 417 00:21:32,279 --> 00:21:33,480 you still as busy as ever? 418 00:21:33,720 --> 00:21:36,400 Speaker 1: Oh yeah, yeah, yeah, that's wonderful. And I do some 419 00:21:36,400 --> 00:21:39,519 commercial stuff too, like I draw the podcasts for Business 420 00:21:39,519 --> 00:21:42,960 New Hampshire magazine. Yeah, and I work for this big 421 00:21:43,000 --> 00:21:46,160 company called the Pilot Workshops, the pay site for pilots. 422 00:21:46,440 --> 00:21:48,000 They teach them how to not crash their plan. 423 00:21:48,119 --> 00:21:49,720 Speaker 8: Oh no, kidding that. 424 00:21:49,880 --> 00:21:51,480 Speaker 1: So you know, I do some of that stuff too, 425 00:21:51,480 --> 00:21:55,759 which I enjoy. Yeah, yeah, you know, but yeah, super busy. 426 00:21:55,960 --> 00:21:56,640 Yeah yeah. 427 00:21:56,680 --> 00:21:59,759 Speaker 11: Well, and I think like the home recording is a 428 00:21:59,759 --> 00:22:02,279 bit is a bit of a trap for musicians too, 429 00:22:02,359 --> 00:22:06,359 because you get bogged down in the in the engineering, right, 430 00:22:06,799 --> 00:22:10,880 so you know, and it takes away from the creative 431 00:22:10,920 --> 00:22:13,480 process you're you know, you're you're not focusing on your 432 00:22:13,519 --> 00:22:14,759 song and your performance. 433 00:22:14,799 --> 00:22:15,720 Speaker 1: You're you know. 434 00:22:16,000 --> 00:22:19,559 Speaker 11: You guess compressive impressors, reverbs, eques, you know. So I 435 00:22:19,640 --> 00:22:24,480 recommend to songwriters to get your eyes ideas down right 436 00:22:25,039 --> 00:22:27,160 and get a sketch of it, and then take it 437 00:22:27,200 --> 00:22:30,279 to the studio and do it in the studio, right, 438 00:22:30,400 --> 00:22:33,319 you know what I mean, and use the tools that 439 00:22:33,359 --> 00:22:35,319 you have with the home recording, but don't get bogged 440 00:22:35,319 --> 00:22:38,079 down it like so many people just get hung up 441 00:22:38,119 --> 00:22:41,039 on the technicalities, and you know, you need an engineer 442 00:22:41,119 --> 00:22:42,240 to engineer. 443 00:22:41,839 --> 00:22:42,319 Speaker 1: That, you know. 444 00:22:42,640 --> 00:22:46,519 Speaker 8: Yeah. Yeah, Also a lot of times too, uh, you know, 445 00:22:46,759 --> 00:22:51,640 someone an engineer might become a producer, a de facto producer, right, 446 00:22:51,720 --> 00:22:52,359 you know, you. 447 00:22:52,359 --> 00:22:53,880 Speaker 1: Kind of have to wear both those hats at the 448 00:22:53,960 --> 00:22:56,720 level where you work at. Yeah, you know. Yeah, very 449 00:22:56,720 --> 00:23:00,519 few bands can afford a producer or even trust producer 450 00:23:00,559 --> 00:23:02,480 with their music. You have to trust the guy that's 451 00:23:02,519 --> 00:23:06,359 making the decisions on your tracks, which is a lot 452 00:23:06,359 --> 00:23:09,480 of times bands don't want to relinquish that control. 453 00:23:09,640 --> 00:23:11,079 Speaker 8: Of course I get that. 454 00:23:11,359 --> 00:23:13,680 Speaker 1: Yeah, but you know, once you get a rapport with 455 00:23:13,759 --> 00:23:16,400 the artists, they trust you to kind of put your 456 00:23:16,400 --> 00:23:19,759 two cents in on you know, the arrangements or whatnot. 457 00:23:19,559 --> 00:23:22,039 Speaker 8: Of course. Yeah, yeah, who is it that we have 458 00:23:22,079 --> 00:23:23,599 on next week? Who's recording with you? Now? 459 00:23:23,880 --> 00:23:26,839 Speaker 1: What do they call Parental Eye or something? It's Jake Young? 460 00:23:26,960 --> 00:23:27,720 Speaker 3: Oh, yes, yeah. 461 00:23:27,880 --> 00:23:29,920 Speaker 1: I always can't remember the name of their band. I 462 00:23:29,960 --> 00:23:31,279 can't pronounce the first. 463 00:23:31,119 --> 00:23:33,039 Speaker 8: Well, that's the thing. Yeah, I think. I think even 464 00:23:33,079 --> 00:23:35,440 when he was here, he he even said, uh, yeah, 465 00:23:35,960 --> 00:23:37,880 he was here with the Youngs, and he even said, yeah, 466 00:23:37,880 --> 00:23:39,680 no one can pronounce the name of this other project. 467 00:23:39,759 --> 00:23:42,960 Speaker 11: Yeah, I can't do it, but we did Aquatang. 468 00:23:43,039 --> 00:23:46,079 Speaker 1: Don't do it, guys, pay. 469 00:23:47,799 --> 00:23:51,200 Speaker 8: I'm curious about Aquatinang. So you were were you were 470 00:23:51,240 --> 00:23:52,960 signed to a major? 471 00:23:53,200 --> 00:23:53,920 Speaker 1: We were. 472 00:23:54,799 --> 00:23:57,880 Speaker 11: We were at Sony in Manhattan. We never actually got signed. 473 00:23:57,920 --> 00:23:59,920 We were brought in there as like a spec project. 474 00:24:00,039 --> 00:24:01,759 Oh really okay, and we worked. 475 00:24:02,279 --> 00:24:02,839 Speaker 1: It was great. 476 00:24:02,880 --> 00:24:04,839 Speaker 11: I mean, we were down in Sony in the nineties. 477 00:24:04,880 --> 00:24:07,640 It was amazing the music going on, you know, like, yeah, 478 00:24:07,759 --> 00:24:09,839 one of the times we were there, we were doing 479 00:24:09,880 --> 00:24:14,279 a session and the engineer came in and said, we 480 00:24:14,319 --> 00:24:16,240 all have to get out of here because Michael's here. 481 00:24:16,279 --> 00:24:20,559 Speaker 1: And I said, Michael, who it wasn't me my reason 482 00:24:20,640 --> 00:24:20,960 to leave? 483 00:24:22,039 --> 00:24:25,079 Speaker 11: And they said Michael Jackson. And so Michael Jackson came 484 00:24:25,119 --> 00:24:31,160 in with like his twenty twenty people strong really yeah yeah, 485 00:24:31,160 --> 00:24:34,440 and they just he wanted everyone else out the boots. 486 00:24:34,519 --> 00:24:35,799 Speaker 1: So yeah, thanks Michael. 487 00:24:36,000 --> 00:24:36,680 Speaker 8: Oh that's fun. 488 00:24:36,799 --> 00:24:37,759 Speaker 1: I'm alive and you're not. 489 00:24:38,000 --> 00:24:39,240 Speaker 8: That's well, that's. 490 00:24:41,599 --> 00:24:41,799 Speaker 1: No. 491 00:24:42,920 --> 00:24:46,119 Speaker 11: But but that's it was. It was amazing. Yeah, it 492 00:24:46,279 --> 00:24:50,440 was amazing. And but but but Mike's Mike's a better 493 00:24:50,480 --> 00:24:52,319 engineer than anybody down in Sony though. 494 00:24:52,440 --> 00:24:52,920 Speaker 1: That's for sure. 495 00:24:53,000 --> 00:24:53,440 Speaker 8: Here you go. 496 00:24:53,599 --> 00:24:56,920 Speaker 1: Wow, yeah, yeah, I don't want to borrow money or something, Yes, 497 00:24:56,960 --> 00:24:58,400 I do. I don't have any I guess that was 498 00:24:58,400 --> 00:24:58,839 pretty sure. 499 00:24:59,039 --> 00:25:03,440 Speaker 8: Parents, Well, he won't be borrowing any money from Michael 500 00:25:03,480 --> 00:25:06,839 Jackson's estate, so, you know, apparently, so you know. 501 00:25:07,960 --> 00:25:10,599 Speaker 11: I mean, Ozzie was down there. I peed next to 502 00:25:10,680 --> 00:25:11,079 jay Z. 503 00:25:12,200 --> 00:25:15,359 Speaker 8: Jay next to jay Z. Yeah, oh wow, that's the 504 00:25:15,440 --> 00:25:15,799 one thing. 505 00:25:15,799 --> 00:25:16,640 Speaker 1: It wasn't k Kelly. 506 00:25:16,640 --> 00:25:20,240 Speaker 11: It might be a different, yeah scenario, Jase didn't pay. 507 00:25:20,240 --> 00:25:23,240 Speaker 8: No kidding me. Well, actually some of the allegations against 508 00:25:23,319 --> 00:25:26,599 jay Z, now that that might you know, crazy, Yeah, yeah, 509 00:25:26,680 --> 00:25:28,599 that could have been risky. 510 00:25:28,559 --> 00:25:31,599 Speaker 1: Yeah, you know, he had no interest in me, apparently. 511 00:25:33,680 --> 00:25:36,240 Speaker 8: I hope none of that's true because ninety nine Problems 512 00:25:36,359 --> 00:25:38,559 is like my favorite hip hop song at all time. Yeah, 513 00:25:38,559 --> 00:25:39,559 I hope none of that's true. 514 00:25:39,599 --> 00:25:42,839 Speaker 1: He's still considered the best hip hop artists. 515 00:25:42,880 --> 00:25:45,480 Speaker 8: Oh yeah, I love jay Z, so I hope no 516 00:25:45,559 --> 00:25:50,359 of that sounds true. Yeah, but oh boy, we should 517 00:25:50,359 --> 00:25:52,759 play another track. What do you guys, I'll let you pick. 518 00:25:52,799 --> 00:25:55,640 I mean, what would you guys like to to feature 519 00:25:55,720 --> 00:25:57,039 next of the songs that he's one? 520 00:25:57,640 --> 00:25:59,680 Speaker 1: Sure, it's kind of interesting. There's some horns in it. 521 00:26:00,119 --> 00:26:00,839 Speaker 8: Oh she's the one? 522 00:26:00,880 --> 00:26:01,079 Speaker 1: Yeah? 523 00:26:01,160 --> 00:26:04,440 Speaker 8: Yeah, okay, now who's who's playing the horns on this? 524 00:26:05,440 --> 00:26:05,519 Speaker 13: Me? 525 00:26:06,039 --> 00:26:06,240 Speaker 1: Yeah? 526 00:26:06,279 --> 00:26:07,240 Speaker 11: We did on keyboard. 527 00:26:07,279 --> 00:26:09,960 Speaker 1: Yeah. I used to use this program called Arcade. It's 528 00:26:10,000 --> 00:26:12,960 really cool. Like it's a California company. And what they 529 00:26:13,000 --> 00:26:15,519 do is they give you phrases of an instrument, so 530 00:26:15,640 --> 00:26:18,880 you kind of play it yourself. So you pick what 531 00:26:18,920 --> 00:26:20,799 you want to use out of the phrase. Can you 532 00:26:20,839 --> 00:26:23,200 develop it that way? It's not a loop? Okay, so 533 00:26:23,240 --> 00:26:26,799 it's there's still some human interaction with the program. Yeah, 534 00:26:26,839 --> 00:26:28,799 it's cool, it's cool. Yeah. These are what do you 535 00:26:28,799 --> 00:26:31,480 call them? Probably township township horn? Yeah, because kind of 536 00:26:31,519 --> 00:26:35,559 reggae sounding, okay, cool. Yeah, they're slightly detuned, you know, 537 00:26:35,599 --> 00:26:36,000 what I mean. 538 00:26:36,160 --> 00:26:38,480 Speaker 8: Yeah, yeah, yeah, all right, cool, Let's give this a 539 00:26:38,480 --> 00:26:40,839 spind This is She's the one, and this is the 540 00:26:40,920 --> 00:26:48,640 Murphy Clark bands. 541 00:27:03,559 --> 00:27:07,960 Speaker 14: She's the kind of lady you don't want to awake 542 00:27:08,119 --> 00:27:16,160 her while she's sleep, A certain kind of someone you 543 00:27:16,400 --> 00:27:19,400 can tell her about the company. 544 00:27:20,640 --> 00:27:21,559 Speaker 3: She clean. 545 00:27:24,039 --> 00:27:29,880 Speaker 15: Pusiness, the goodness of you one and loves away. Goodness 546 00:27:30,200 --> 00:27:38,880 is the beauty one that lights away oh oh style, 547 00:27:39,799 --> 00:27:42,160 easy agent. 548 00:27:42,559 --> 00:27:43,599 Speaker 10: For a while. 549 00:27:45,960 --> 00:27:47,400 Speaker 8: And it's been a walk. 550 00:27:51,759 --> 00:27:57,279 Speaker 3: She's the one, a. 551 00:27:57,279 --> 00:28:03,119 Speaker 14: Certain kind of flower that God himself has shielded with 552 00:28:03,319 --> 00:28:10,599 his hands, and out of the ashes of a fire 553 00:28:11,200 --> 00:28:18,640 comes up strong good one to stand and us is 554 00:28:18,680 --> 00:28:22,680 the goodness of who loves away. 555 00:28:22,799 --> 00:28:24,960 Speaker 2: Goodness is the beauty. 556 00:28:26,319 --> 00:28:36,039 Speaker 3: One and lights the way O rais ow style easy. 557 00:28:36,240 --> 00:28:41,119 Speaker 1: For one, and it's been working. 558 00:28:45,119 --> 00:28:49,559 Speaker 3: She's the one. 559 00:28:50,480 --> 00:29:01,160 Speaker 5: She's the one. 560 00:29:02,720 --> 00:29:06,599 Speaker 10: Till the night until he break it down. 561 00:29:06,920 --> 00:29:10,799 Speaker 14: I see her like shine up. 562 00:29:14,160 --> 00:29:35,039 Speaker 9: Night, I see her life. 563 00:29:36,839 --> 00:29:43,160 Speaker 5: She's she's telling. 564 00:29:43,000 --> 00:29:57,519 Speaker 3: Me she's the CANU lady. Don't want to wake up? Why? 565 00:29:59,039 --> 00:29:59,240 Speaker 12: Why? 566 00:30:19,400 --> 00:30:19,559 Speaker 5: Hmm? 567 00:30:19,799 --> 00:30:21,279 Speaker 8: I love that. That's a nice sound. 568 00:30:21,519 --> 00:30:23,039 Speaker 1: Brian wrote that for Sydney Sweeney. 569 00:30:23,359 --> 00:30:24,240 Speaker 16: I really like that one. 570 00:30:24,880 --> 00:30:28,359 Speaker 1: Yeah, yeah, I don't know who Sydney Sweeney. 571 00:30:28,480 --> 00:30:31,039 Speaker 8: I was gonna say, I was gonna say, who's Sydney Sweeney? What? 572 00:30:32,279 --> 00:30:33,640 Speaker 1: You guys don't get out much, do you. 573 00:30:34,039 --> 00:30:35,839 Speaker 16: I honestly have no idea what he's talking about. 574 00:30:35,880 --> 00:30:39,599 Speaker 8: I feel like I should know. I was gonna say, 575 00:30:39,599 --> 00:30:43,000 I feel like I should know the reference Murphy Clark 576 00:30:43,039 --> 00:30:45,480 band here and uh here in studio with us Brian 577 00:30:45,559 --> 00:30:47,880 Murphy and Mike Clark. You know what I like about that? 578 00:30:47,920 --> 00:30:52,000 In the mix? I like the way the horns are 579 00:30:52,160 --> 00:30:57,240 are present, but they're not like sometimes when you hear 580 00:30:57,279 --> 00:31:00,160 horns they're loud, Yeah, you know what I mean. And 581 00:31:00,200 --> 00:31:03,559 though and and I like the where the horns sit 582 00:31:03,599 --> 00:31:04,119 in the mix. 583 00:31:04,400 --> 00:31:06,880 Speaker 1: Well, well, definitely a vocal band, so everything kind of 584 00:31:06,920 --> 00:31:11,079 like goes under the vocals, you know. Yeah, yeah, but 585 00:31:11,160 --> 00:31:13,559 it's a hook I mean yeah, it's a hook onto itself. 586 00:31:13,799 --> 00:31:16,000 Speaker 8: Yeah. No, I like it. It has a lot of texture yea. 587 00:31:16,880 --> 00:31:20,000 And the vocals too aren't super loud either. It's interesting. 588 00:31:20,039 --> 00:31:24,119 But I really like the mix. Yeah, absolutely absolutely that. 589 00:31:24,519 --> 00:31:26,960 Speaker 11: I think that's one of his strong suits Mike, is 590 00:31:27,200 --> 00:31:28,240 his mixing ability. 591 00:31:28,480 --> 00:31:31,559 Speaker 1: Okay, you know, I think that's really like definitely that's what. 592 00:31:31,519 --> 00:31:33,839 Speaker 11: Attracted to me in the beginning. 593 00:31:34,359 --> 00:31:37,440 Speaker 1: Dashing, good look and the hair, yeah, the hair. 594 00:31:37,839 --> 00:31:39,799 Speaker 16: And he said you're a vocal teacher, right, yes I am. 595 00:31:40,079 --> 00:31:40,279 Speaker 1: Yeah. 596 00:31:40,319 --> 00:31:41,960 Speaker 16: So do you ever get students that just want to 597 00:31:42,000 --> 00:31:44,200 sing karaoke without killing any animals? 598 00:31:44,680 --> 00:31:44,920 Speaker 12: Yeah? 599 00:31:45,039 --> 00:31:48,519 Speaker 11: I do get I get the karaoke contingent, no doubt, 600 00:31:48,759 --> 00:31:51,079 you know what I mean. Yeah, but yeah, and that's 601 00:31:51,079 --> 00:31:53,359 the beauty of it. I have singers across the spectrum, 602 00:31:53,440 --> 00:31:56,079 you know, I really love doing that doing that. 603 00:31:56,200 --> 00:31:59,440 Speaker 8: Do you do you ever This might be a strange question, 604 00:31:59,519 --> 00:32:01,319 but do you ever have to kind of turn away 605 00:32:01,319 --> 00:32:03,720 anybody like like, do you ever have you ever had 606 00:32:03,759 --> 00:32:07,039 a student who you just kind of feel like how 607 00:32:07,079 --> 00:32:08,240 they're not going to get this? 608 00:32:09,400 --> 00:32:14,920 Speaker 11: Well, typically not, because you know, everyone can get better 609 00:32:14,960 --> 00:32:17,599 as long as they're not, you know, tone deaf. 610 00:32:17,680 --> 00:32:17,839 Speaker 1: Right. 611 00:32:18,119 --> 00:32:21,000 Speaker 11: Yeah, there's a difference between being tone deaf and being 612 00:32:21,039 --> 00:32:21,799 pitched deficient. 613 00:32:22,319 --> 00:32:22,440 Speaker 9: Right. 614 00:32:22,799 --> 00:32:26,359 Speaker 11: Pitch deficiency can be you can train somebody to get 615 00:32:26,359 --> 00:32:29,880 their pitches correct. If somebody's actually tone deaf, they don't 616 00:32:29,880 --> 00:32:33,160 really like music anyway, right, So I don't get those 617 00:32:33,240 --> 00:32:35,119 kind of people because they don't enjoy music. 618 00:32:35,200 --> 00:32:36,440 Speaker 1: Okay, So and. 619 00:32:36,759 --> 00:32:39,640 Speaker 11: I do get people from time to time. Yeah, yeah, Yeah, 620 00:32:39,680 --> 00:32:43,640 there's there's a difference. And I do get people, you know, 621 00:32:43,680 --> 00:32:45,920 from time to time that say, you know, after we 622 00:32:46,000 --> 00:32:48,359 do a couple of lessons, they say, what do you think, 623 00:32:48,759 --> 00:32:50,799 And I'll tell them, I'll say, you know, if they're 624 00:32:50,839 --> 00:32:53,160 pitch deficient, I'll say, you will be able to sing, 625 00:32:53,240 --> 00:32:55,200 but it's going to be a lot of work. If 626 00:32:55,240 --> 00:32:57,000 you want to do the work, we can get it done, 627 00:32:57,279 --> 00:32:58,799 you know what I mean. And they're never going to 628 00:32:58,839 --> 00:33:01,559 be your great singers, right, but you can be good 629 00:33:01,680 --> 00:33:04,400 enough to sing in your church band, or sing backups 630 00:33:04,440 --> 00:33:07,440 in your band, or do the occasional lead vocal in 631 00:33:07,480 --> 00:33:11,519 your group. But you know, great singers, though, usually come 632 00:33:11,559 --> 00:33:12,920 to me singing already. 633 00:33:13,119 --> 00:33:17,720 Speaker 8: Okay, interesting, yeah, yeah. Part of why that's so interesting 634 00:33:17,759 --> 00:33:19,279 to me is so I went through a few different 635 00:33:19,359 --> 00:33:23,599 vocal teachers, uh along the way. And you might even 636 00:33:23,599 --> 00:33:26,720 know I'm rolling Belisle. Is that a familiar I recognized 637 00:33:27,119 --> 00:33:29,400 because you have. He was the owner of Belile Music 638 00:33:29,440 --> 00:33:33,640 here in Manchester. Yeah, yeah, and I went. I went 639 00:33:33,680 --> 00:33:35,440 to him and a couple other people over the years, 640 00:33:35,440 --> 00:33:38,920 and I you know, it's it's an odd thing with me. 641 00:33:39,079 --> 00:33:41,480 I'm actually not a bad harmony singer. I can kind 642 00:33:41,480 --> 00:33:43,880 of lock in and find the octave and whatnot. But 643 00:33:43,960 --> 00:33:44,640 on my own I. 644 00:33:44,599 --> 00:33:46,960 Speaker 1: Get lost pay the band. 645 00:33:47,319 --> 00:33:49,960 Speaker 8: Yeah, I've not currently, but I'm a musician, you know. 646 00:33:49,960 --> 00:33:51,599 I play bass and a little bit of guitar, and 647 00:33:51,599 --> 00:33:56,079 I'm certainly do this. Yeah, yeah it. 648 00:33:56,359 --> 00:33:58,880 Speaker 11: Yeah, if you love music, you're not tone deaf. 649 00:33:59,119 --> 00:33:59,839 Speaker 1: Okay what I mean? 650 00:34:00,079 --> 00:34:02,640 Speaker 11: But pitch deficiency is a coordination thing. 651 00:34:03,359 --> 00:34:06,039 Speaker 1: No, you're You're a better singer, anyone can say. 652 00:34:07,519 --> 00:34:10,800 Speaker 11: Yeah, yeah, if you if you enjoy music, you can 653 00:34:10,840 --> 00:34:15,480 do it. And it's just because typically that's a coordination issue, right, 654 00:34:15,760 --> 00:34:18,960 It's because what you're hearing in your you know, head 655 00:34:19,400 --> 00:34:22,480 is not coordinating up with your your voice. Yeah right, 656 00:34:22,519 --> 00:34:25,199 you know what I mean. So that can be trained in. Okay, 657 00:34:25,320 --> 00:34:29,199 you know what I mean. That's that's the fundamental difference there. 658 00:34:29,360 --> 00:34:30,760 Speaker 8: Okay, just hope for me yet. 659 00:34:31,119 --> 00:34:33,719 Speaker 16: Yeah, Grandma says I killed cats. 660 00:34:33,960 --> 00:34:36,719 Speaker 8: Oh, Jenny is a better singer than she thinks she is. 661 00:34:36,800 --> 00:34:42,360 But but so but so tone deafness though, So that's real. 662 00:34:42,440 --> 00:34:43,960 That's a real thing, because that's the other thing I 663 00:34:44,000 --> 00:34:44,639 was curious about. 664 00:34:44,679 --> 00:34:46,639 Speaker 11: And you meet people like that from time to time, 665 00:34:46,719 --> 00:34:48,719 Like you used to fish with a guy. He didn't 666 00:34:48,719 --> 00:34:50,880 care what radio station was on, you're getting this truck 667 00:34:50,880 --> 00:34:53,039 and what the hell you listening to? He said, It's 668 00:34:53,039 --> 00:34:54,920 all the same to me. It's just noise. 669 00:34:55,119 --> 00:34:58,519 Speaker 16: That's sprising to me. I would have never thought that. 670 00:34:58,760 --> 00:35:00,639 I mean, I thought that I could be tone deaf, 671 00:35:00,719 --> 00:35:02,840 because I you know what I mean. But I never 672 00:35:02,880 --> 00:35:06,400 thought that people who are tone deaf are generally not 673 00:35:06,519 --> 00:35:07,480 happy about music. 674 00:35:07,719 --> 00:35:09,960 Speaker 11: Yeah, they just don't like it because they don't hear 675 00:35:10,000 --> 00:35:11,159 them melodic difference. 676 00:35:11,159 --> 00:35:12,480 Speaker 1: So it's just irritating. 677 00:35:13,280 --> 00:35:13,880 Speaker 8: That's interesting. 678 00:35:13,920 --> 00:35:16,039 Speaker 11: You don't hear melody, it's just noise. 679 00:35:16,280 --> 00:35:19,320 Speaker 8: Yeah, you know, because I've heard people say, yeah, I 680 00:35:19,320 --> 00:35:21,519 don't really like music, and it's but rarely have I 681 00:35:21,559 --> 00:35:23,400 heard anyone say that. And then when I when someone 682 00:35:23,440 --> 00:35:25,400 does say that, it's like, you know, I've always assumed 683 00:35:25,400 --> 00:35:28,159 there's something neurologically wrong with them or something else, because 684 00:35:28,320 --> 00:35:30,800 who doesn't like music? It seems so strange. 685 00:35:30,920 --> 00:35:33,320 Speaker 16: You're kind of right, because if somebody's tone death. 686 00:35:33,159 --> 00:35:37,400 Speaker 1: That is right, it would probably annoy them rather than 687 00:35:37,599 --> 00:35:38,320 entertain them. 688 00:35:38,480 --> 00:35:40,719 Speaker 8: That's interesting an estimate of how many people like that 689 00:35:40,719 --> 00:35:42,719 are in the world, or because I would assume that's 690 00:35:42,800 --> 00:35:44,599 extremely rare, right, it's gotta be. 691 00:35:44,719 --> 00:35:46,960 Speaker 11: I've never done any research. Yeah, you know, I just 692 00:35:47,079 --> 00:35:47,440 know that. 693 00:35:47,599 --> 00:35:49,360 Speaker 8: I'm just curious. You know that I'm thinking about it. 694 00:35:49,440 --> 00:35:52,119 Speaker 11: But most of the time, those you know, those people 695 00:35:52,159 --> 00:35:54,280 don't come for voice lessons because they don't care. 696 00:35:54,199 --> 00:35:57,400 Speaker 8: About it, right, They wouldn't best the people that are 697 00:35:57,400 --> 00:35:58,119 pitched efficient. 698 00:35:58,159 --> 00:35:59,719 Speaker 11: And a lot of people say the same thing as 699 00:35:59,760 --> 00:36:02,280 you've said, is I can sing harmony, I can sing 700 00:36:02,320 --> 00:36:04,199 with others, they can sing in a choir. 701 00:36:04,280 --> 00:36:06,320 Speaker 1: But when they're but training in okay. 702 00:36:06,119 --> 00:36:10,039 Speaker 11: You know, through exercises and you know, like dedication. 703 00:36:09,599 --> 00:36:11,159 Speaker 1: You know, yeah, you have to work out. I still 704 00:36:11,159 --> 00:36:15,199 won't give me a microphone. No, you don't sink mike, No, no, 705 00:36:15,760 --> 00:36:16,519 only in the shower. 706 00:36:16,679 --> 00:36:17,000 Speaker 8: Okay. 707 00:36:17,079 --> 00:36:18,960 Speaker 1: Yeah, that's why I get an audience to come in 708 00:36:19,000 --> 00:36:21,400 with me, but a shower or. 709 00:36:21,480 --> 00:36:24,519 Speaker 16: Cooking for me. But you are correct, it is a 710 00:36:24,599 --> 00:36:26,719 very low number. Back in twenty seventeen, they did a 711 00:36:26,760 --> 00:36:29,920 study estimating that between one point five percent to up 712 00:36:30,000 --> 00:36:34,000 to four percent of people have tone deafness, also known 713 00:36:34,119 --> 00:36:37,519 as a musia. M A M S. 714 00:36:37,599 --> 00:36:39,800 Speaker 11: I go, Brice, I don't think it should be funny. 715 00:36:39,880 --> 00:36:43,599 I got a musia. Yeah, I took penestill and mind 716 00:36:43,599 --> 00:36:49,519 cleared up. Okay, you're shut his microphone. I'll take it 717 00:36:49,559 --> 00:36:49,920 from here. 718 00:36:50,519 --> 00:36:54,239 Speaker 16: It is a it can be congenital, in which case 719 00:36:54,280 --> 00:36:58,280 it can be more severe, which is rarer than people 720 00:36:58,320 --> 00:37:00,199 in general who are tone deaf, which is that one 721 00:37:00,239 --> 00:37:02,920 to four percent. So it is very a very low 722 00:37:03,079 --> 00:37:04,320 percentage of the population. 723 00:37:04,519 --> 00:37:04,760 Speaker 8: Yeah. 724 00:37:04,840 --> 00:37:05,239 Speaker 1: Interesting. 725 00:37:05,599 --> 00:37:07,400 Speaker 8: Yeah, so it's not the people we. 726 00:37:07,440 --> 00:37:09,559 Speaker 16: Thought it was. But it's not the people I would 727 00:37:09,559 --> 00:37:11,199 have thought it was. I would have thought that. It's 728 00:37:11,239 --> 00:37:13,760 like I didn't I can't hit that note. So I'm 729 00:37:13,760 --> 00:37:14,559 tone deaf because I. 730 00:37:14,559 --> 00:37:15,199 Speaker 1: Can't hit right. 731 00:37:15,519 --> 00:37:17,800 Speaker 16: That's what I thought that it meant, and a. 732 00:37:17,719 --> 00:37:20,239 Speaker 11: Lot of times too, like you can go in somebody's 733 00:37:20,320 --> 00:37:23,719 vocal range and you can find out right that place 734 00:37:23,760 --> 00:37:27,239 and their voice, you know, especially the upper bridge of 735 00:37:27,280 --> 00:37:30,519 someone's voice where the coordination's going flat a little bit. 736 00:37:30,559 --> 00:37:31,840 I'll know exactly what to do. 737 00:37:32,039 --> 00:37:32,960 Speaker 1: Okay, you know what I mean. 738 00:37:33,000 --> 00:37:35,280 Speaker 11: You know exactly the range to work, and you know 739 00:37:35,320 --> 00:37:36,960 where the coordination issue is. 740 00:37:37,400 --> 00:37:40,159 Speaker 8: Yeah. I remember Roland doing that with me and trying 741 00:37:40,159 --> 00:37:41,480 to figure out where my range was. 742 00:37:42,800 --> 00:37:44,760 Speaker 16: No wonder. You guys have beautiful harmonies. 743 00:37:44,800 --> 00:37:47,719 Speaker 11: Oh thanks, you just gorgeous. Marion and Cindy have always 744 00:37:47,719 --> 00:37:53,119 been like that. They sing together just beautifully. They have 745 00:37:53,159 --> 00:37:54,800 a real super chemistry. 746 00:37:55,159 --> 00:37:57,239 Speaker 16: It sounds like they're related, you know what I mean, 747 00:37:57,239 --> 00:38:00,119 how related people can really get that crazy harm. 748 00:38:00,119 --> 00:38:05,119 Speaker 1: Ye you sing together for thirty five years or whatever 749 00:38:05,159 --> 00:38:07,400 it is. Yeah, well yeah, yeah. 750 00:38:07,719 --> 00:38:10,599 Speaker 11: I can remember one time I was at a bluegrass 751 00:38:10,639 --> 00:38:13,760 festival in Texas, uh, you know, in the eighties, and 752 00:38:13,800 --> 00:38:16,440 Marian and Cindy were there with me, and they had 753 00:38:16,480 --> 00:38:18,360 they weren't really singing yet, you know what I mean. 754 00:38:18,400 --> 00:38:20,280 So I was with my banjo player and we were 755 00:38:20,280 --> 00:38:23,360 out going and playing with everybody. And I come back 756 00:38:23,400 --> 00:38:25,599 and there's this beautiful singing going on in the tent. 757 00:38:25,679 --> 00:38:27,440 I'm like, what the hell is going on in there? 758 00:38:27,559 --> 00:38:29,760 I open it up and it's Cindy and Marion and 759 00:38:30,079 --> 00:38:31,840 Marian's on guitar and they're harmonized. 760 00:38:31,840 --> 00:38:33,159 Speaker 1: Like Chris, I said, I didn't. 761 00:38:32,960 --> 00:38:35,360 Speaker 11: Know you guys could harmonize like that. They go, oh yeah. 762 00:38:35,440 --> 00:38:38,119 So that's where it began, you know, like I kind 763 00:38:38,119 --> 00:38:39,719 of realized, like, what the hell you know. 764 00:38:39,800 --> 00:38:42,719 Speaker 1: Yeah, I accidents, yeah yeah, yeah. 765 00:38:42,519 --> 00:38:45,199 Speaker 11: And they just right from the beginning had had a 766 00:38:45,280 --> 00:38:46,199 kind of a chemistry. 767 00:38:46,400 --> 00:38:50,760 Speaker 8: Yeah. Yeah, Oh that's cool. That's cool. Is uh? Now 768 00:38:50,840 --> 00:38:52,440 some of the early music that you guys did. Is 769 00:38:52,440 --> 00:38:55,239 that all available because you said you've one hundred and 770 00:38:55,239 --> 00:38:55,880 fifty published. 771 00:38:55,960 --> 00:38:56,719 Speaker 1: Ye, all of it. 772 00:38:56,840 --> 00:39:00,360 Speaker 11: The awkwardanang stuff is still it still gets spun all 773 00:39:00,400 --> 00:39:03,079 the time. You know, there's stuff about that like she 774 00:39:03,239 --> 00:39:06,519 Reigns particularly and fragile Is and Nail the aquatanang Ones, 775 00:39:06,679 --> 00:39:09,840 those two in particular, where they're sort of the band 776 00:39:09,880 --> 00:39:13,119 at the height of their powers. Okay, And it sounds 777 00:39:13,239 --> 00:39:15,199 like the nineties. I mean like I put that on 778 00:39:15,280 --> 00:39:16,800 and I just think, oh, yeah, here we are back 779 00:39:16,800 --> 00:39:19,119 there again, you know, kidding it's interesting. 780 00:39:19,159 --> 00:39:21,440 Speaker 8: I'll have to check some of that out later. I'm curious. Yeah, 781 00:39:21,519 --> 00:39:22,920 I'll do a deep dive. 782 00:39:23,000 --> 00:39:26,119 Speaker 11: Yeah yeah, yeah, And uh, we've been working together, like 783 00:39:26,159 --> 00:39:28,480 I said, ever since then. So yeah, you know, it's 784 00:39:28,519 --> 00:39:31,760 a it's a real uh. I think it's historic. I 785 00:39:31,760 --> 00:39:36,440 think New Hampshire musical history, our collaboration over the years. 786 00:39:36,480 --> 00:39:37,760 You know, even though you know not a lot of 787 00:39:37,760 --> 00:39:38,639 people know about it. 788 00:39:38,679 --> 00:39:40,599 Speaker 8: I think, well, it must be kind of intuitive, right, 789 00:39:40,679 --> 00:39:43,800 especially at this point. Yeah, like it probably is effortless. 790 00:39:44,000 --> 00:39:47,320 Speaker 11: The work, The workflows very nice. Yeah, like now I'll 791 00:39:47,320 --> 00:39:49,440 write a couple of songs or when we're ready for 792 00:39:49,440 --> 00:39:51,920 a new song. He'll he'll just say, what have you got, yeah, 793 00:39:51,920 --> 00:39:53,679 and I'll just I'll get out my guitar and I'll 794 00:39:53,719 --> 00:39:56,320 play through a few things and he'll say that one yeah, 795 00:39:56,360 --> 00:39:58,599 and then and then we start to arrange it. Uh. 796 00:39:58,760 --> 00:40:01,519 You know, Mike's very good with your arrangement. And it's 797 00:40:01,559 --> 00:40:04,159 really nice for a songwriter and a singer to have 798 00:40:04,239 --> 00:40:06,719 like what I call ears on the outside. You know, 799 00:40:06,800 --> 00:40:09,519 if somebody that listens to your music and says I 800 00:40:09,639 --> 00:40:11,119 like this, I don't like that. You know, I need 801 00:40:11,119 --> 00:40:13,199 to trust him with it, though, and he can be 802 00:40:13,239 --> 00:40:15,159 honest with me and say, you know, you're you're pushing 803 00:40:15,159 --> 00:40:17,400 too hard here, or you're biting down on that, or 804 00:40:17,679 --> 00:40:19,480 you know, things like that. It would normally hurt your 805 00:40:19,480 --> 00:40:20,360 feelings and I'll just you. 806 00:40:20,280 --> 00:40:21,199 Speaker 1: Know, right right. 807 00:40:22,639 --> 00:40:26,119 Speaker 11: But but it's really you know, for somebody, you know, 808 00:40:26,159 --> 00:40:28,400 and so he'll pick generally, you know, I'll run through 809 00:40:28,400 --> 00:40:31,920 a couple like, uh, go on, go ahead and break. 810 00:40:32,360 --> 00:40:35,039 I wrote this past Valentine's Stay because I was down 811 00:40:35,119 --> 00:40:37,880 with influenza a I believe, and I was out for it, 812 00:40:38,039 --> 00:40:40,119 you know, And that the week I was out, I 813 00:40:40,119 --> 00:40:42,519 wrote three songs that week, which is great and and 814 00:40:42,679 --> 00:40:44,519 go ahead and Break was the last one of the three. 815 00:40:44,840 --> 00:40:46,960 Speaker 1: Okay, And so he says, what have you got? 816 00:40:47,000 --> 00:40:49,119 Speaker 11: So I started playing that when he goes, that's the one. 817 00:40:49,159 --> 00:40:51,239 Let's do that one, you know, so he and then 818 00:40:51,400 --> 00:40:53,519 you know, then the band gets together, we start to 819 00:40:53,639 --> 00:40:54,079 arrange it. 820 00:40:54,159 --> 00:40:54,360 Speaker 1: You know. 821 00:40:54,679 --> 00:40:58,079 Speaker 11: Jeff Harrington, the drummer, had some nice arrangement ideas for 822 00:40:58,079 --> 00:41:00,639 for go ahead and break and so yeah, you know 823 00:41:00,679 --> 00:41:02,960 we sort of do that as a band, yeah, and 824 00:41:03,280 --> 00:41:05,840 arrange it. And and for a songwriter too. Had to 825 00:41:05,880 --> 00:41:09,000 have a team that you can work with, like cause 826 00:41:09,000 --> 00:41:11,199 Cindy and Marion are great, like we like this. We 827 00:41:11,239 --> 00:41:14,480 don't like that, you know, for everybody to chip in, 828 00:41:14,519 --> 00:41:17,639 for every talented person, it helps you with your composition. 829 00:41:17,960 --> 00:41:20,239 The composition gets ratcheted up. 830 00:41:20,360 --> 00:41:21,079 Speaker 1: Yeah, you know. 831 00:41:21,239 --> 00:41:24,119 Speaker 11: So it's it's really like it's a dream come true 832 00:41:24,119 --> 00:41:27,519 to have a team to work with you on the songs, you. 833 00:41:27,480 --> 00:41:28,000 Speaker 1: Know what I mean? 834 00:41:28,039 --> 00:41:31,800 Speaker 11: Oh yeah, yeah, and contribute to their considerable talent, you know. 835 00:41:31,840 --> 00:41:35,119 Speaker 8: Yeah, absolutely absolutely. You guys want to play another one? 836 00:41:35,119 --> 00:41:37,360 We should, We should play another one. These are so good. 837 00:41:37,840 --> 00:41:39,360 What do you guys want to let highway? 838 00:41:39,400 --> 00:41:43,239 Speaker 1: Yeah, Hello highway, Hello Highway. This is a song about 839 00:41:43,239 --> 00:41:43,920 your travels. 840 00:41:44,119 --> 00:41:47,159 Speaker 11: Yeah, yeah, we were doing some care I wrote that 841 00:41:47,639 --> 00:41:51,400 stuck in traffic and in. 842 00:41:50,639 --> 00:41:53,400 Speaker 1: New Jersey, No, No, Worcester. 843 00:41:53,719 --> 00:41:55,920 Speaker 11: I was going through Worcester because my father lived in 844 00:41:55,960 --> 00:41:58,559 North Carolina and going down the stretch, he was dying 845 00:41:58,559 --> 00:41:59,320 to Parkinson's. 846 00:41:59,400 --> 00:41:59,840 Speaker 8: Oh wow. 847 00:42:00,000 --> 00:42:03,360 Speaker 11: We would do caregiving and everybody in the family would 848 00:42:03,360 --> 00:42:04,679 get down there for a couple of weeks. So we 849 00:42:04,719 --> 00:42:06,280 were doing a lot of highway time. 850 00:42:06,719 --> 00:42:06,920 Speaker 1: Yeah. 851 00:42:06,920 --> 00:42:09,159 Speaker 11: And so one particular time, my sister said called me 852 00:42:09,199 --> 00:42:10,599 and said we got to get down there. So as 853 00:42:10,639 --> 00:42:13,159 I was going down driving through Worcester, I was like, 854 00:42:13,199 --> 00:42:14,000 Hello Highway. 855 00:42:14,159 --> 00:42:15,039 Speaker 1: Yeah, I like that. 856 00:42:15,360 --> 00:42:17,760 Speaker 11: So the next twenty four hours of driving I wrote 857 00:42:17,800 --> 00:42:19,840 the rest of the song in my mind. Yeah, and 858 00:42:19,880 --> 00:42:22,119 then when I got back to town, I wrote it down, 859 00:42:22,159 --> 00:42:23,679 you know. But that's how that one came about. 860 00:42:23,840 --> 00:42:26,119 Speaker 8: Okay, all right, yeah, let's give this a spand this 861 00:42:26,159 --> 00:42:28,760 is Hello Highway, and this is the Murphy Clark band. 862 00:42:46,239 --> 00:42:49,320 Speaker 3: Hello Highway. 863 00:42:49,679 --> 00:42:50,480 Speaker 1: Remember me. 864 00:42:53,519 --> 00:43:02,800 Speaker 3: And the one that I used to be Hello Highway? 865 00:43:03,880 --> 00:43:09,039 Can you take me home to a place? 866 00:43:09,840 --> 00:43:10,400 Speaker 1: He said? 867 00:43:10,440 --> 00:43:17,719 Speaker 17: I never really know, never really know, never really know. 868 00:43:20,239 --> 00:43:21,559 Can you take me home? 869 00:43:24,639 --> 00:43:27,119 Speaker 5: Hello Highway? 870 00:43:32,679 --> 00:43:50,280 Speaker 3: I Way, Hello Highway. What's that you say? Can you 871 00:43:50,519 --> 00:43:54,239 take me back to a better day? 872 00:43:57,480 --> 00:44:04,960 Speaker 18: A well writ and got you strong to get up 873 00:44:05,079 --> 00:44:10,159 off the floor? Didn't take so long, It didn't. 874 00:44:09,840 --> 00:44:10,880 Speaker 5: Take so long. 875 00:44:13,039 --> 00:44:23,039 Speaker 9: Didn't take so long to get up both food, Hello, Highway. 876 00:44:28,559 --> 00:44:29,519 Speaker 3: Hide. 877 00:44:35,599 --> 00:44:39,119 Speaker 10: I don't need a place to call my own and 878 00:44:39,199 --> 00:44:39,880 I don't. 879 00:44:39,760 --> 00:44:42,320 Speaker 2: Need a phase to king. 880 00:44:42,880 --> 00:44:45,840 Speaker 3: I just need a place to lay. 881 00:44:45,559 --> 00:44:49,000 Speaker 9: It down where I can get some sweet. 882 00:44:50,119 --> 00:44:53,679 Speaker 2: I don't need a place to go my own. 883 00:44:53,800 --> 00:44:56,039 Speaker 5: I don't need a place to me. 884 00:44:57,400 --> 00:45:00,679 Speaker 3: I just need phrase for thing down. 885 00:45:01,760 --> 00:45:03,480 Speaker 8: I can get some sleep. 886 00:45:05,719 --> 00:45:09,719 Speaker 17: I could get a sleep high way. 887 00:45:16,840 --> 00:45:45,280 Speaker 12: Way he Hello Highway, Time to go. 888 00:45:48,079 --> 00:45:52,199 Speaker 3: No, he'll need to remind me that you told me so. 889 00:45:53,360 --> 00:46:00,320 You told me so, Yeah, you told me so. Don't 890 00:46:00,639 --> 00:46:02,400 need to remind. 891 00:46:05,960 --> 00:46:28,719 Speaker 17: Way Hello. 892 00:46:29,639 --> 00:46:43,079 Speaker 1: Hello, mm hmmm, Hello Highway. 893 00:46:43,400 --> 00:46:45,480 Speaker 8: It's kind of got lost in that one listening to that. 894 00:46:45,480 --> 00:46:46,440 That's really good guy. 895 00:46:46,800 --> 00:46:48,960 Speaker 1: I want to go on that. Yeah, you want to 896 00:46:48,960 --> 00:46:49,440 go paint? 897 00:46:49,559 --> 00:46:50,360 Speaker 16: I want to go paint. 898 00:46:50,440 --> 00:46:53,119 Speaker 8: She likes she likes to listen to music while she paints. 899 00:46:53,119 --> 00:46:53,599 Speaker 1: So cool. 900 00:46:53,679 --> 00:46:54,960 Speaker 8: Yeah, she's gonna he's gonna put that on. 901 00:46:55,960 --> 00:46:59,639 Speaker 11: Yeah, I'd love to love everybody put us on your playlist. 902 00:47:00,079 --> 00:47:01,679 Speaker 1: Police. Yeah, and I should say too. 903 00:47:01,719 --> 00:47:07,239 Speaker 11: You know, we're on Spotify, Apple Music, Amazon, YouTube. I 904 00:47:07,239 --> 00:47:10,599 love my YouTube channel small though it may be, yeah, 905 00:47:10,639 --> 00:47:12,840 but you know, we're on all the major platforms. 906 00:47:12,920 --> 00:47:16,320 Speaker 1: The music is just some crazy videos on YouTube. Yeah, 907 00:47:16,519 --> 00:47:19,199 I get all the video duties. Yeah, I'm not a 908 00:47:19,320 --> 00:47:22,400 huge fan, but it's kind of fun. Video is a 909 00:47:22,400 --> 00:47:24,519 lot of work, is and I'm clunky on it because 910 00:47:24,559 --> 00:47:27,519 I'm an audio guy. Sure, sure, it's you know, have 911 00:47:27,840 --> 00:47:29,000 fun to do videos. Yeah. 912 00:47:29,039 --> 00:47:30,800 Speaker 8: Yeah, that's a powerful song though. 913 00:47:30,800 --> 00:47:32,360 Speaker 1: Oh thanks, so good. 914 00:47:32,480 --> 00:47:34,920 Speaker 8: That is so good If you are just joining us. 915 00:47:35,119 --> 00:47:38,199 We've got Brian Murphy and Mike Clark from the Murphy 916 00:47:38,239 --> 00:47:41,719 Clark Band here with us in studio and we've been 917 00:47:41,760 --> 00:47:44,559 talking a lot and playing some tunes and uh, just 918 00:47:44,559 --> 00:47:46,760 just really great. Is is that one of the more 919 00:47:46,800 --> 00:47:49,119 recent ones? Or or is that is that one been 920 00:47:49,119 --> 00:47:49,719 out for a while? 921 00:47:49,960 --> 00:47:54,199 Speaker 11: I think it's eight months maybe, Okay. We try to 922 00:47:54,199 --> 00:47:56,920 get a song done every two months, okay, and we've 923 00:47:56,960 --> 00:48:00,480 been relatively successful with that. That includes you know, the writing, 924 00:48:00,960 --> 00:48:03,519 the arranging and then the production of it, and you 925 00:48:03,559 --> 00:48:07,440 know we try to get get two months of ourselves, 926 00:48:07,480 --> 00:48:11,800 you know. So yeah, that one's probably about four songs 927 00:48:11,840 --> 00:48:14,760 back I would say, so that's eight months or six 928 00:48:14,760 --> 00:48:15,679 months or something like that. 929 00:48:16,119 --> 00:48:18,840 Speaker 8: And so that's kind of the schedule. So is there 930 00:48:18,920 --> 00:48:20,960 is there an album that these are going to coalesce 931 00:48:20,960 --> 00:48:22,400 into or are you just going to keep doing singles? 932 00:48:24,000 --> 00:48:27,440 Speaker 1: I don't we don't feel like the lost platform. 933 00:48:27,559 --> 00:48:27,760 Speaker 9: Yeah. 934 00:48:28,719 --> 00:48:30,920 Speaker 11: I think it's very difficult to get people to listen 935 00:48:31,000 --> 00:48:33,440 to a CD anyway, you know, because people have so much, 936 00:48:33,559 --> 00:48:37,760 so many entertainment options, I feel like. And another thing too, 937 00:48:38,039 --> 00:48:41,440 is when you release a single, you know, you get 938 00:48:41,480 --> 00:48:44,239 a bump on all the platforms. So if you're on Spotify, 939 00:48:44,360 --> 00:48:48,440 your Apple Music or whatever, you get a little you know, 940 00:48:48,760 --> 00:48:52,239 especially if you're a verified artist, you get a bump, 941 00:48:52,320 --> 00:48:55,400 so they promote that single for the first week or 942 00:48:55,400 --> 00:48:58,280 so like that. So if you release a CD, your 943 00:48:58,320 --> 00:49:01,440 CD gets that pump. But if you release a single, 944 00:49:01,480 --> 00:49:03,679 you get a bump every time you do the single. 945 00:49:04,239 --> 00:49:07,519 So it's just kind of more advantageous. And another thing 946 00:49:07,599 --> 00:49:11,320 I like about it, Matt is it allows the artists 947 00:49:11,400 --> 00:49:13,559 to work in what I call the honeymoon period with 948 00:49:13,639 --> 00:49:15,920 the song. Right, So when you have a new song, 949 00:49:15,960 --> 00:49:18,840 everybody's excited about it, everybody's get you know, gives it 950 00:49:18,880 --> 00:49:21,320 they're all. But if you do a CD project and 951 00:49:21,360 --> 00:49:24,400 you get hung up, the next thing, you know, everything 952 00:49:24,440 --> 00:49:26,000 starts to kind of slow down. 953 00:49:26,199 --> 00:49:28,519 Speaker 1: You tend to rush through things if you'd you know, oh, 954 00:49:28,679 --> 00:49:30,519 we got to finish this because we have ten other 955 00:49:30,599 --> 00:49:33,480 songs we have to complete, you know, and then you 956 00:49:33,559 --> 00:49:36,559 might not out slide or you know, then you cannot. 957 00:49:36,159 --> 00:49:38,119 Speaker 11: Work on a song for four months and then you 958 00:49:38,199 --> 00:49:40,159 kind of come back to it and I, where where 959 00:49:40,199 --> 00:49:41,199 were we with this one? 960 00:49:41,239 --> 00:49:43,559 Speaker 1: You know what I mean? And you care about it anymore? Really? 961 00:49:43,559 --> 00:49:46,440 Speaker 11: Whereas if you do a song and it's that song, 962 00:49:46,599 --> 00:49:48,679 you know, And I recommend this to musicians all the times, 963 00:49:48,760 --> 00:49:51,239 and they never listen. They always say no, we're doing 964 00:49:51,239 --> 00:49:53,079 a CD, and I say, okay, fine. When it gets 965 00:49:53,119 --> 00:49:54,320 bogged down, give me a call. 966 00:49:54,400 --> 00:49:55,960 Speaker 1: Don't tell them that, bro, I lose money. 967 00:49:55,960 --> 00:50:00,519 Speaker 11: When you tell the singles you'll make the same amount money. 968 00:50:01,039 --> 00:50:02,920 Just think how much money I've paid you, dude. Come on, 969 00:50:03,920 --> 00:50:05,960 you won't into that. 970 00:50:06,039 --> 00:50:08,639 Speaker 1: Come on, I don't get me wrong. I would love 971 00:50:08,679 --> 00:50:10,679 people to put the Needle on the record and listen 972 00:50:10,760 --> 00:50:13,480 to the whole record. I kind of missed that because 973 00:50:14,000 --> 00:50:16,239 I'm guilty of it. Like I'll listen to like the 974 00:50:16,280 --> 00:50:19,360 new David Gilmour record and listen to two tracks then 975 00:50:19,400 --> 00:50:22,760 go oh, you know, uh to the wet Sprockett has 976 00:50:22,760 --> 00:50:24,800 a new record out of whoever, you know what I mean. 977 00:50:25,280 --> 00:50:28,840 So you there's so much to choose from your access. 978 00:50:29,000 --> 00:50:31,239 Speaker 11: So I kind of look at it like, instead of 979 00:50:31,360 --> 00:50:34,199 putting out a CD, is put out a single and 980 00:50:34,679 --> 00:50:37,079 hope to get on some playlists. Hope people include it 981 00:50:37,119 --> 00:50:39,000 on their favorite playlist or whatever like that. 982 00:50:39,320 --> 00:50:43,000 Speaker 8: Yeah, and that, yeah, you stay visible to yeah, exactly. 983 00:50:43,119 --> 00:50:44,239 Speaker 1: Yeah, and a lot. 984 00:50:44,400 --> 00:50:47,039 Speaker 11: I mean, you know, you can do a show and 985 00:50:47,320 --> 00:50:49,199 one person might come up and say, do you have 986 00:50:49,239 --> 00:50:51,239 a CD for sale? You know, and but most of 987 00:50:51,280 --> 00:50:53,960 the time not, you know what I mean, because people 988 00:50:54,000 --> 00:50:55,639 don't think of it that way. 989 00:50:55,639 --> 00:50:58,519 Speaker 1: They don't put ring cars anymore, so you are Yeah, 990 00:50:58,639 --> 00:50:59,760 that's true, that's true. 991 00:51:00,199 --> 00:51:02,840 Speaker 11: I've just kind of moved away from that, and periodically 992 00:51:02,920 --> 00:51:04,480 I think, oh, I should put it all together in 993 00:51:04,519 --> 00:51:07,760 a CD project, and then I think, you know why, Yeah, 994 00:51:08,079 --> 00:51:11,000 you know, yeah, So that's my that's my theory on 995 00:51:11,039 --> 00:51:11,559 it anyway. 996 00:51:11,719 --> 00:51:15,400 Speaker 1: Yeah, Well, listening habits have changed. Yeah, oh absolutely, yeah change. 997 00:51:15,440 --> 00:51:17,679 Speaker 11: Like I said, what I like about most of it 998 00:51:17,760 --> 00:51:21,360 is doing a song, putting your all into it, getting 999 00:51:21,360 --> 00:51:23,199 the best mix you can, and then moving on to 1000 00:51:23,280 --> 00:51:23,800 the next one. 1001 00:51:23,960 --> 00:51:24,199 Speaker 1: Yeah. 1002 00:51:24,440 --> 00:51:26,480 Speaker 11: Yeah, you know what I mean it you know, it 1003 00:51:26,559 --> 00:51:30,000 keeps you writing, it keeps you, you know, working like that, 1004 00:51:30,079 --> 00:51:30,239 you know. 1005 00:51:30,320 --> 00:51:32,880 Speaker 8: Yeah. Yeah, there's so many different ways now to release 1006 00:51:32,960 --> 00:51:35,199 music and so many different strategies you should use. And 1007 00:51:35,400 --> 00:51:39,239 you know that's that's all changed too, yea, and yeah no, 1008 00:51:39,400 --> 00:51:44,440 it's uh, technology has just changed everything. But but yeah, 1009 00:51:44,480 --> 00:51:46,400 but it's like, you know, you kind of you do 1010 00:51:46,480 --> 00:51:48,599 have to kind of feed the machine, feed that algorithm. 1011 00:51:48,639 --> 00:51:48,760 Speaker 4: You know. 1012 00:51:51,119 --> 00:51:54,320 Speaker 11: Really, the CD period was a very short period in 1013 00:51:54,440 --> 00:51:58,800 musical history, right, I mean you probably remember singles where 1014 00:51:58,840 --> 00:52:01,719 you get a forty five oh yeah, and that you 1015 00:52:01,719 --> 00:52:04,639 know what I mean, it was one song, get B 1016 00:52:04,800 --> 00:52:05,559 side or whatever. 1017 00:52:06,000 --> 00:52:09,800 Speaker 8: I might, I might be good, I might thank you, 1018 00:52:09,800 --> 00:52:17,960 thank you, im moisturized, I stay hydrated. But yeah, it's 1019 00:52:17,960 --> 00:52:19,960 some some of the artists we have on the show 1020 00:52:20,280 --> 00:52:24,079 have kind of recommitted to physical media just because you know, 1021 00:52:24,639 --> 00:52:26,719 sometimes if you're a fan, it's it's nice to have 1022 00:52:26,840 --> 00:52:28,119 liner notes and things like that. 1023 00:52:28,239 --> 00:52:32,039 Speaker 1: But miss that. Yeah there with the album cover, Look, that's. 1024 00:52:31,920 --> 00:52:35,079 Speaker 8: The best, like the vinyl the gatefold, you know, and you. 1025 00:52:34,960 --> 00:52:38,400 Speaker 1: Can against mixing art mediums. You know, you have the 1026 00:52:38,480 --> 00:52:41,920 music and you have the art that was exactly record 1027 00:52:41,920 --> 00:52:42,960 cover exactly. 1028 00:52:43,079 --> 00:52:47,840 Speaker 8: Yeah. Yeah, absolutely, well, gentlemen, so that the time goes quickly. 1029 00:52:47,880 --> 00:52:49,280 We will do this again in the future, though, I 1030 00:52:49,480 --> 00:52:50,440 would love to come back. 1031 00:52:50,599 --> 00:52:55,039 Speaker 1: I'd love to have you guys got stories man, Yeah yeah, yeah. 1032 00:52:54,880 --> 00:52:57,360 Speaker 8: And especially too as you're releasing new music, because you know, 1033 00:52:57,440 --> 00:52:59,880 you keep putting out new stuff. So yeah, so that 1034 00:53:00,119 --> 00:53:03,039 that's an easy excuse to get you back on. But 1035 00:53:03,079 --> 00:53:05,480 in the meantime, we should close our segment with one 1036 00:53:05,480 --> 00:53:07,599 more track. What would you guys like to? Uh? 1037 00:53:07,679 --> 00:53:10,039 Speaker 1: Yeah, we could do only you, only you, only you, man. 1038 00:53:10,280 --> 00:53:12,920 Speaker 11: And this is the one that came before go on 1039 00:53:12,960 --> 00:53:14,559 and break it's only. 1040 00:53:14,320 --> 00:53:16,920 Speaker 8: You, okay. Anything we should know about. 1041 00:53:16,639 --> 00:53:19,119 Speaker 11: This this one I don't remember. 1042 00:53:19,519 --> 00:53:23,920 Speaker 1: Uh, this is a track we revisited though, okay, yeah, 1043 00:53:23,920 --> 00:53:26,119 because from a while ago. Okay, we did it back 1044 00:53:26,119 --> 00:53:26,719 in the day. 1045 00:53:27,000 --> 00:53:29,440 Speaker 11: I don't remember the specifics are right in this one though, 1046 00:53:29,719 --> 00:53:31,119 in particular, you know, it's. 1047 00:53:30,920 --> 00:53:34,239 Speaker 1: Just okay, you know I can't a dream? Yeah yeah, 1048 00:53:34,400 --> 00:53:37,239 that's poetic. Yeah right. 1049 00:53:39,039 --> 00:53:42,039 Speaker 8: And before we spend this anything, what shoul our listeners 1050 00:53:42,039 --> 00:53:43,639 know about how to find you guys online. What's the 1051 00:53:43,639 --> 00:53:45,000 best place to go to keep up with everything? The 1052 00:53:45,079 --> 00:53:45,599 Murphy Clark. 1053 00:53:46,079 --> 00:53:47,440 Speaker 1: We have a Facebook. I run it. 1054 00:53:47,559 --> 00:53:49,719 Speaker 11: So if you think I suck at Facebook, you're right. 1055 00:53:50,840 --> 00:53:53,880 So I do this social media so you'll you'll uh, 1056 00:53:54,119 --> 00:53:54,639 you'll know that. 1057 00:53:54,960 --> 00:53:55,199 Speaker 8: Yeah. 1058 00:53:55,480 --> 00:53:58,280 Speaker 1: The channel, the YouTube channels great though. Yeah, there's a 1059 00:53:58,320 --> 00:54:01,679 lot of stuff this live videos on there. And okay, 1060 00:54:01,800 --> 00:54:03,360 you know it's Murphy Clark. 1061 00:54:03,480 --> 00:54:06,920 Speaker 11: Just if you're te in Murphy Clark, it'll come up, okay, okay. 1062 00:54:06,960 --> 00:54:09,920 And we appreciate anybody adding adding a song to their 1063 00:54:10,000 --> 00:54:11,440 their favorite playlist or whatever. 1064 00:54:11,599 --> 00:54:12,599 Speaker 1: Yeah, you appreciate it. 1065 00:54:12,599 --> 00:54:15,320 Speaker 11: And if if somebody writes something on YouTube, we see. 1066 00:54:15,079 --> 00:54:19,840 Speaker 1: It, it's gonna paint to yes she is, Yeah, yes 1067 00:54:19,880 --> 00:54:22,280 she is. And if anyone wants to dance naked, that's 1068 00:54:22,280 --> 00:54:22,960 fine too. 1069 00:54:23,159 --> 00:54:26,519 Speaker 8: You can do that, you know, absolutely, not here. Not here, 1070 00:54:26,559 --> 00:54:29,239 We can't on that part. The cameras are on, and 1071 00:54:29,239 --> 00:54:30,320 I don't think we're zoned for it. 1072 00:54:31,000 --> 00:54:33,320 Speaker 1: Yeah I should. I should have done some sit ups 1073 00:54:33,400 --> 00:54:33,760 or something. 1074 00:54:35,519 --> 00:54:38,840 Speaker 11: As far it's gonna appear naked, I look pretty good 1075 00:54:39,559 --> 00:54:42,079 in the park if you give me a chance. 1076 00:54:44,119 --> 00:54:46,320 Speaker 8: Well, like I said, we will have you back, so we'll. 1077 00:54:47,119 --> 00:54:49,280 Speaker 11: Thanks for everything and thank you for your commitment. 1078 00:54:50,119 --> 00:54:50,519 Speaker 1: Everyone. 1079 00:54:50,599 --> 00:54:53,079 Speaker 11: You know, we really appreciate that, like thank you, just 1080 00:54:53,119 --> 00:54:57,320 like Kate over it, you know the listening room. The 1081 00:54:57,400 --> 00:55:00,159 dedication and devotion that people have is so importan and 1082 00:55:00,239 --> 00:55:01,840 you know what I mean, it means a lot to us. 1083 00:55:02,039 --> 00:55:04,159 Speaker 8: Oh yeah, I mean no, we love it, you know, 1084 00:55:04,239 --> 00:55:04,960 Jenny and I love it. 1085 00:55:05,000 --> 00:55:05,639 Speaker 1: I appreciate that. 1086 00:55:05,719 --> 00:55:09,159 Speaker 8: J absolutely absolutely so we will. We'll close out the 1087 00:55:09,199 --> 00:55:11,920 segment with only You Man. That's the title this track, 1088 00:55:12,079 --> 00:55:14,559 Only you Oh, it's just only you Okay. I was 1089 00:55:14,679 --> 00:55:16,639 sure because it says only you Man on here, but 1090 00:55:16,679 --> 00:55:18,320 it says only you Man mixed, so I don't know 1091 00:55:18,360 --> 00:55:19,199 if it was the band. 1092 00:55:19,800 --> 00:55:22,199 Speaker 1: From my studio. I need to name stuff what I 1093 00:55:22,199 --> 00:55:24,639 want to name it. Yeah, that's not the name of 1094 00:55:24,679 --> 00:55:25,079 the song. 1095 00:55:25,440 --> 00:55:26,480 Speaker 8: It's smelled. 1096 00:55:26,519 --> 00:55:28,000 Speaker 1: It's just just from my file. 1097 00:55:28,199 --> 00:55:31,960 Speaker 8: I got I gotcha, I gotcha, all right. And if 1098 00:55:32,000 --> 00:55:35,079 you are listening live on Saturday morning, Aaron Bilideo is 1099 00:55:35,079 --> 00:55:37,239 coming up next in the third hour, so stick around 1100 00:55:37,239 --> 00:55:39,840 for that. He's gonna play live. But guys, thank you again. 1101 00:55:39,880 --> 00:55:42,920 Brian Murphy and Mike Clark from the Murphy Clark Band 1102 00:55:42,920 --> 00:55:44,000 and here. It is only you. 1103 00:56:00,519 --> 00:56:01,559 Speaker 5: It's all right. 1104 00:56:04,440 --> 00:56:10,280 Speaker 2: When you're suffer, It's all right. 1105 00:56:12,480 --> 00:56:18,760 Speaker 9: When you cry, it's I'll pick you ever, I thank you. 1106 00:56:19,400 --> 00:56:23,280 Should you be flop down, let me coming down. 1107 00:56:23,519 --> 00:56:28,360 Speaker 12: I'll dry yours on. 1108 00:56:30,960 --> 00:56:43,920 Speaker 7: Man only, man only, like myself, much like myself, bus 1109 00:56:44,199 --> 00:56:46,239 like myself. 1110 00:56:45,599 --> 00:56:47,360 Speaker 3: Much like myself. 1111 00:56:47,559 --> 00:56:49,199 Speaker 5: I'll much like me. 1112 00:56:52,519 --> 00:56:53,440 Speaker 3: In the night. 1113 00:56:55,519 --> 00:57:01,519 Speaker 9: When your hog is broken up, a. 1114 00:57:04,079 --> 00:57:08,760 Speaker 3: Good sound mass. 1115 00:57:08,679 --> 00:57:13,000 Speaker 8: Too, you muture to seeking. 1116 00:57:14,199 --> 00:57:20,960 Speaker 3: Said, I will not dritcause your own thing. 1117 00:57:24,079 --> 00:57:26,360 Speaker 5: On you. 1118 00:57:28,119 --> 00:57:37,880 Speaker 19: Only like myself, much like myself, much like myself, uns 1119 00:57:38,159 --> 00:57:42,639 like myself, I'm much like me. 1120 00:58:00,519 --> 00:58:05,679 Speaker 3: It's all right when you suffer. 1121 00:58:08,519 --> 00:58:09,159 Speaker 5: It's all. 1122 00:58:10,960 --> 00:58:20,519 Speaker 3: Right when you come south you have you should be, for. 1123 00:58:23,119 --> 00:58:28,239 Speaker 14: Thou will not puticide's because you're. 1124 00:58:30,960 --> 00:58:35,440 Speaker 2: Man only, man. 1125 00:58:36,079 --> 00:58:49,000 Speaker 5: Only only, only. 1126 00:58:48,119 --> 00:59:01,320 Speaker 13: Only, but like theself, sellst like myself myself no stared. 1127 00:59:02,000 --> 00:59:05,280 Speaker 11: Not light and not start 1128 00:59:08,039 --> 00:59:08,320 Speaker 8: Real