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Speaker 1: That is quite catchy. Indeed, that is Naked Without It

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from the UK, and we have these guys on with

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us via Skype. We're going to introduce them in just

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in a moment. This is Matt Connorton Unleashed and we

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are live from the studios of w m n H

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ninety five point three FM and Glorious Manchester, New Hampshire.

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Of course, you can stream the show at Matt connorton

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dot com slash Live. Jenny is here as well at

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the news table, president and account and joining us via Skype.

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We have Tony and Martin from Naked Without It. Hi, guys,

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can you hear me?

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Speaker 2: Hi? We've got you?

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Speaker 1: Yeah, awesome, awesome. It's always a little nerve wracking with

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a transcontinental Skype call because it doesn't always work out,

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so it's nice when it does. But great, great to

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have you guys here with us this morning. So what

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do you each do in Naked Without It? What are

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your roles respectively?

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Speaker 3: And I play rhythm guitar and I sing okay, and

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Martin I play all the other guitar and do a

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bit of BVS as well.

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Speaker 1: Yeah, okay, okay, very good, very good. Now that song

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spinning is it's very catchy. And I noticed all your

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songs are are like that. They're very easy to kind

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of sing along to. Has that always been, uh? Has

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that always been kind of them is of naked without it?

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Have you always written songs that are, you know, just

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very accessible and just kind of get stuck in your brain?

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Has that always been been kind of the approach?

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Speaker 2: Yeah, we do.

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Speaker 3: We do like a chorus, and we do like a

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sing along. Yeah, we do like a sing along when

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we play live. And we started when we started out,

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well re started out a few years ago. We did

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a an online interview during COVID, so we did an

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online interview and I can remember I always say, I

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can always remember Martin saying to me at the time,

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you know, just wait, we're the entertainment. So it sort

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of dawned on me then that, you know, our job

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really was to entertain. So I've always sort of found

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there was no point doing heartfelt songs that people aren't

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going to catch. I suppose there's a place, but for us,

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it doesn't really work. So we're in to entertain really,

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and I think a big chorus is a way of entertaining.

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Speaker 1: Yeah, Oh, absolutely, I'm interested in. So the these songs

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that we're playing, these are from an album called Singles Club. Yes, indeed,

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now tell me if I have this right. And there's

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a specific reason why this is so interesting to me.

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This is a series of Did you release these each

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individually as singles and then compile them into an album

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called Singles Club? Is that? Was that your approach to this?

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Speaker 2: Yeah? You did?

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Speaker 1: Yeah, Okay. The reason I'm so curious about it is

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because this has been a topic of conversation on the show.

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You know, I'm old enough to remember, and I suspect

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you guys are too. When there was really kind of

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a standard way of doing things. You know, you've got

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an album coming out, first single goes to radio maybe

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six to eight weeks before the album's coming out. Then

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the album comes out, then you have the second single

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and so forth. And it was, you know, everybody released albums.

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Somebody might occasionally release an EP, but that's sort of

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the old record company model. Now we live in an

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era where, because of the Internet, there's so many different

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ways you can approach it. You can release albums, you

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can release EPs, you can just put out singles forever

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and never release an album. But I've noticed, especially in

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the past couple of years, a lot of the guests

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that we have, their approach is, rather than putting out

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an album and a series of singles, releasing a series

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of singles that eventually become an album. And it seems

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like you guys have kind of taken it to a

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new level where it's like, that's clearly what this is,

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because you're calling the album Singles Club because it's literally

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a collection of singles, and I think that's very interesting

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that you've taken that approach.

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Speaker 2: But yeah, exactly.

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Speaker 3: We back in twenty twenty two, we were talking about

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what we were going to do because we'd done one album.

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We did a first album, Habits Far Too Bright, which

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was along the same lines, along the normal lines, you know,

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we got it all together, we released it as you

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should sort of thing, and then I sort of we

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had a conversation and just sort of said that music's

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a bit more immediate now. Nobody sort of wants to

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wait for anything. Everything is done straight away. So we

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sort of thought, well, we'd, we'd we'd instead of instead

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of holding things back, what we would do is we

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would plan to release a single every six weeks. And

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then at the end of it, we did add the

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intention of putting out like the Hard Hard CD version.

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Of course, we didn't actually realize because we didn't work

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this one out very well. Is that when we decided

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that in twenty twenty two to do twelve singles, it

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was going to take us seventy two weeks, So we

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didn't realized we were actually committing ourselves to a year

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and a half's work, which was.

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Speaker 2: Recording.

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Speaker 3: You know, we've got a recording, releasing, you know, or

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the artwork, publicizing, et cetera, and then we're on to

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the next one and on to the next one.

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Speaker 2: But yeah, we did it.

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Speaker 3: We got we got a little bit random every now

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and again, but yeah, seventy two weeks later we ended

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up with the Singles Club album, So yeah, and we're

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really happy with it.

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Speaker 1: Was that a difficult decision for you both, because obviously,

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you know, we're all or we all were used to

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doing it the old way. I mean, it was this

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something did you put a lot of thought into Is

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this really the right way to approach it? Or maybe

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it instinctively just felt right and obvious to you? I mean,

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was that a difficult decision to come to or did

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it come easy?

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Speaker 4: I think we thought that, you know, like, because people

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generally will stream a song or they like a songs,

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so we thought, if we just keep giving them songs,

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you know, spaced out rather than just all together, then

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there's more chats that they might listen to more of

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what we do, rather than here's an album or that

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what's the single, I'll listen to that and ignore the rest.

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Speaker 2: So yeah, yeah, and it just it just kept it

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fresh for us as well.

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Speaker 4: And it was a good, you know, kind of time

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to keep working on things and you can change things

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is you know, as you know, you can start with

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a song, but then over time it might evolve into

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something slightly differently. So with a six week gap, if

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you like, in between what we were doing, we did

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have that luxury of saying, well, actually maybe we should

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change this a little bit and we can try things

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out and you know, give a few different ideas. So

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from a you know, from actually a creative point of view,

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it was quite helpful rather than we have to get

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the album done within this amount of time and then

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once it's done, that's it.

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Speaker 2: Whereas with this, you know, you're only.

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Speaker 4: Doing one song at a time essentially, so yeah, we

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had a bit more bit more flexibility.

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Speaker 2: So yeah, and we had a.

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Speaker 3: Bit of engagement from like the people that come and

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see us play because of course they knew something was

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coming in six weeks time, so people we're asking us

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when the next one's due? When's the next one jew

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which which was nice. So yeah, capt Us on our

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toes really.

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Speaker 1: Yeah, I can see how it would be kind of

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liberating to to be able to approach it this way.

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And something else too that we talk a lot about

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on the show is the importance of adaptability to constantly

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changing music industry, and in fact, that was a big

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subject in some ways in the in the in the

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previous segment that we were doing. So is this going

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to be the new approach going forward? Do you think

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you're going to keep doing it this way? Or I mean,

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obviously you're promoting this album singles Club, these singles that

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have become an album, So I don't know if you're

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even thinking that far ahead. But are you thinking about

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kind of the future or are you in the moments

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just more focused on promoting what you've what you've just

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released recently?

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Speaker 3: Well, I mean absolutely, we we had a gig last night,

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and we basically went into a studio this morning and

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recorded the basics of like the first three tracks for

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something that's planned for later on in the year. I mean,

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I constantly write lyrics. Lyrics just keep coming, so we

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keep we write them down, and then we work on

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the ideas.

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Speaker 2: We live about one hundred miles apart.

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Speaker 3: Oh no kidding, so we so we've sort of embraced

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the technology, so we send each other ideas all the

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time via WhatsApp, and then so we pass some sort

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of forwards and backwards like that, and you know, we

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work on bits at the other end, and then we

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sort of come together for gigs. We were saying today,

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we don't really rehearse very much because we just sort

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of we do. If we do, I rehearse my bits.

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My rehearses is bits and then and then we bring

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them together at gigs generally.

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Speaker 2: Yeah, and we're quite.

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Speaker 3: We're pretty disciplined, to be honest. So we're well, i'd

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say we are. I mean, if you if you see

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us live, sometimes we're not particularly just discipline. Some of

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the crowd know the lyrics better than I do. Sometimes

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just a bit embarrassing, especially when yeah. Sometimes so if

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I go into the wrong verse and somebody will give

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me a look from the crowd, and you'd.

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Speaker 2: Be, oh, okay, cheers right right my song, I'll see

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how I like. You know, that's.

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Speaker 1: Another you know, in terms of being able to send

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tracks back and forth on WhatsApp. I mean, that's another

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example of how, you know, being able to adapt to

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the changing technology and the changing dynamics of the industry

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is so important. And I always say this comes up

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a lot too reflecting on the pandemic. You know, the

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pandemic was terrible, but we have to find these silver

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linings where we can. And I think one of the

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one of those few silver linings was it kind of

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forced people, creative people, I think musicians in particular, to

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kind of find new ways to create and to and

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to get comfortable with creating from a distance. Like you

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guys said, you know, you're one hundred miles apart, and

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you know, I think for a lot of people pre pandemic,

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the idea of even being able to work that way,

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even though the technology was already there and has been

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there for a while, to be able to, you know,

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just send tracks back and forth online. I think for

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I think a lot of people pre pandemic were resistant

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to that who then became comfortable with it, who now

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now it's very freeing because it's just another way to create,

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and to be able to create and collaborate with somebody

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who is one hundred miles away is really cool.

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Speaker 2: Yeah. Yeah, we did, I mean we did in Lockdown.

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Speaker 3: We sat, we started, we were doing a few there

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was a few internet radio sort of shows, but we

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also did sort of gigs at home. Yeah, you know,

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we we we got into when the times we were toge,

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we got together and just sort of played played that

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played an online gig sort of like on Facebook Live

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or something like that, because it was a way of

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still getting still getting the gigs done if you do

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enough promotion before and get everybody sort of aware that

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it's going to happen and make a.

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Speaker 2: Bit of a party of it. It worked for us.

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So yeah, that's good.

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Speaker 4: So we released our first EP the week before Lockdown happened.

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We did, so it wasn't our fault, just so yeah,

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so we didn't get a chance to go and play

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it live, and so we had to find a way

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to do it, you know, still get the music heard.

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Speaker 2: So we did.

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Speaker 4: You know, we did one of those videos where we

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recall our bit separately pieces together trying to find out

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how that technology works. Like you're saying, I mean, it

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was kind of figuring out a lot of stuff very

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quickly that we could still promote, you know, our new product,

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because we were.

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Speaker 2: Very excited about it at the.

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Speaker 4: Time and and you know, you want people to hear it.

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And it was amazingly bad timing from that point.

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Speaker 2: Yeah.

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Speaker 1: Well, well, to be fair, I mean, there's never a

243
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good time for a plague. Yeah, you guys also too,

244
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So I was reading an in your bio. Did you

245
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guys work together previously and then you took a really

246
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long break and then came back together in twenty nineteen.

247
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Speaker 2: Yeah, we did, Yeah, yoga with us. We many years ago.

248
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Speaker 4: Yes, it's gonna be twenty or nearly thirty years ago.

249
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I know we don't look that old, but we can't

250
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see it's on radio.

251
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Speaker 2: So we we used we beat.

252
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Speaker 4: We're in different bands in the same kind of area,

253
00:11:41,080 --> 00:11:44,000
and Tony and I we got together and we used

254
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to play, you know, just as a duo, just acoustic guitar,

255
00:11:46,240 --> 00:11:48,240
and we worked on some stuff and did a couple

256
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of gigs and then you know, we kind of went

257
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off and you know, moved places, and you know, there's

258
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no big falling out, there's no big kind of showbiz

259
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argument that we just you know, we just kind of

260
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moved and dinner and then the bands that we used

261
00:12:00,799 --> 00:12:02,759
to be in, we we had the same drummer in

262
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both bands, and he sadly died in twenty nineteen. So

263
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we met up at the funeral. At his funeral, had

264
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half a glass of sherry and I thought maybe it

265
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was time to get the band back together. So and

266
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it was kind of funny because we you know, see,

267
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we live quite a distance apart, and it went over

268
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for the weekend and I put my guitar down in

269
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Tony's man cave on the first day and it kind

270
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of stayed there. We just, you know, we just hung

271
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out and talked and it was almost oft time to

272
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go home. So the next day and we said, well,

273
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we should probably have a go and see what was

274
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just like because I think there was a little bit

275
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of apprehension that it had been so long and it

276
00:12:41,080 --> 00:12:43,840
was remembered very fondly and you don't know how things

277
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are going to be all those years later.

278
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Speaker 2: For me.

279
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Speaker 4: It was great because he still had his old songbook

280
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that we used to play from back in the day,

281
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all the handwritten and lyrics and stuff. Yeah, and so yeah,

282
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so we just started playing these songs we hadn't played

283
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together in twenty five years and it's still sounded great,

284
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and we thought, you know, maybe we've we should pursue this.

285
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And you know, so we had some ideas of original

286
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songs and we started playing over those and yeah, went

287
00:13:09,360 --> 00:13:11,720
to an open mic night and so we'd give it

288
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a bash and it went there really well.

289
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Speaker 2: So we thought, well, you know, do you have if

290
00:13:17,559 --> 00:13:19,159
you have an open mic night over there?

291
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Speaker 1: Oh yeah, that's that's very common here.

292
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Speaker 3: Yeah, okay, yeah, so so we we literally went into

293
00:13:25,279 --> 00:13:29,000
into my town and there was like an open mic night,

294
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and we went up and just sort of played.

295
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Speaker 2: We did a couple of songs.

296
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Speaker 3: We played three songs, and then we sort of looked

297
00:13:34,360 --> 00:13:36,440
at the fellaw who was comparing it, and just sort

298
00:13:36,440 --> 00:13:40,159
of said, you know, should we do another one? And

299
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he just he just said, well, play as long as

300
00:13:42,039 --> 00:13:44,879
you like, and we were like, oh okay. So we

301
00:13:45,039 --> 00:13:47,759
realized then that we obviously had something going on that

302
00:13:47,759 --> 00:13:50,559
people liked, so that was where we sort of said, well,

303
00:13:50,639 --> 00:13:53,519
let's give it another go, and five years later this is.

304
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Speaker 2: Where we are older and definitely older. Two albums in.

305
00:13:58,080 --> 00:14:03,440
Speaker 1: Yeah, so on Singles Club, are any of these songs?

306
00:14:04,639 --> 00:14:07,120
Are these new? Or do some of these go back,

307
00:14:07,600 --> 00:14:08,919
like way way back.

308
00:14:10,360 --> 00:14:11,120
Speaker 2: One of them?

309
00:14:11,240 --> 00:14:14,399
Speaker 3: Yeah, one of the flowers goes way way back. That

310
00:14:14,440 --> 00:14:16,360
goes right back to my old band, which was called

311
00:14:16,399 --> 00:14:21,279
Just Another Girl, which is an old Johnny Thunders song

312
00:14:21,399 --> 00:14:25,080
was up that the band was named after. Okay, so yeah,

313
00:14:25,080 --> 00:14:27,279
that flowers goes right back to them. So that's the

314
00:14:27,279 --> 00:14:29,320
only one we've kept. The rest of them are all

315
00:14:29,399 --> 00:14:33,039
sort of are all new stuff that we've we've been

316
00:14:33,200 --> 00:14:33,879
putting together.

317
00:14:34,080 --> 00:14:36,279
Speaker 2: So but I mean, yeah, I.

318
00:14:36,159 --> 00:14:43,519
Speaker 3: Mean, Spinning is spinning, Spinning is very recent, Molly's very recent.

319
00:14:44,559 --> 00:14:45,679
Speaker 2: Yeah, I meant most.

320
00:14:45,559 --> 00:14:47,679
Speaker 3: Of them are now they're literally in the last sort

321
00:14:47,679 --> 00:14:49,240
of year or so. But as we said, we released

322
00:14:49,240 --> 00:14:51,039
them as singles going through and now we're sort of

323
00:14:51,320 --> 00:14:53,720
we're finding a way to repromote them and they're all

324
00:14:53,720 --> 00:14:54,720
coming back through.

325
00:14:55,200 --> 00:14:59,759
Speaker 1: Yeah. Oh that's awesome. Do you guys ever perform with

326
00:15:00,039 --> 00:15:04,519
their musicians, because obviously as an acoustic duo, there's there's

327
00:15:04,519 --> 00:15:07,279
an opportunity there to bring other people up up with

328
00:15:07,320 --> 00:15:09,080
you or do you always keep it to just the

329
00:15:09,080 --> 00:15:09,440
two of you?

330
00:15:10,440 --> 00:15:12,840
Speaker 4: It's always, yeah, just the two of us actually, So

331
00:15:13,000 --> 00:15:15,039
I mean that's part of our you know thing. I

332
00:15:15,080 --> 00:15:17,679
mean it's two two acoustic guitars and two voices really,

333
00:15:17,720 --> 00:15:20,080
so yeah, we work hard at is trying to make

334
00:15:20,120 --> 00:15:23,080
that as interesting as possible, you know, because we you know,

335
00:15:23,120 --> 00:15:24,840
as I would say, we're like a live band, but

336
00:15:24,879 --> 00:15:27,159
we're just you know, just two guitars, so we sort

337
00:15:27,159 --> 00:15:29,720
of make it quite percussive and and you know, trying

338
00:15:29,720 --> 00:15:31,399
to fill out the sound rather than it being that

339
00:15:31,679 --> 00:15:34,320
you know, sort of stereotypical you know, strumming away and

340
00:15:34,360 --> 00:15:36,879
doing that. So yeah, that we try and make that

341
00:15:36,960 --> 00:15:39,399
kind of bring that energy to the acoustic side rather

342
00:15:39,480 --> 00:15:41,240
than you know, bringing out other instruments.

343
00:15:41,240 --> 00:15:43,759
Speaker 3: So yeah, we also like we we also we like

344
00:15:43,799 --> 00:15:46,480
to involve the audience. I like to involve the audience.

345
00:15:47,000 --> 00:15:50,000
We like to involve the audience a lot. We we've

346
00:15:50,039 --> 00:15:54,279
got what's what's the what's the harmony in that they do?

347
00:15:54,720 --> 00:15:58,519
Oh in uh in flowers, well in in the song Flowers.

348
00:15:58,519 --> 00:16:01,399
When we play Flowers live, it's very strange because there's

349
00:16:01,399 --> 00:16:03,919
about four or five people in the audience who've worked

350
00:16:03,919 --> 00:16:05,519
out their own back in.

351
00:16:05,600 --> 00:16:08,759
Speaker 2: Vocals for it, and I always forget.

352
00:16:08,799 --> 00:16:11,159
Speaker 3: So we played last night in a place called Camberly

353
00:16:11,200 --> 00:16:13,159
and we were playing it and I'd forgotten that that

354
00:16:13,200 --> 00:16:15,480
they do that. So we come into it and when

355
00:16:15,480 --> 00:16:19,039
we it's like an acoustic bit for me, and literally

356
00:16:19,080 --> 00:16:21,399
they start with their woe woe woes in the background.

357
00:16:21,399 --> 00:16:22,720
Speaker 2: You it's just brilliant.

358
00:16:23,159 --> 00:16:27,519
Speaker 3: And we have another song called one too Many, which

359
00:16:28,639 --> 00:16:30,279
I think you've been sent. I'm not sure if you

360
00:16:30,320 --> 00:16:33,240
played it, but it's one too Many, and we do

361
00:16:33,480 --> 00:16:37,240
that as a call and response song. So basically, we

362
00:16:37,720 --> 00:16:39,120
as I said last night, we try and it we

363
00:16:39,120 --> 00:16:41,080
don't make it to it's not very it's not singing,

364
00:16:41,559 --> 00:16:43,039
it's not there's nothing.

365
00:16:42,840 --> 00:16:45,279
Speaker 2: Clever about it. Really. I shout one too many, they

366
00:16:45,320 --> 00:16:48,240
shout one too many back. But but the.

367
00:16:48,200 --> 00:16:50,399
Speaker 3: Way it works out, it's worked out very nice because

368
00:16:50,559 --> 00:16:52,879
we can then we have if we've if we've got

369
00:16:52,919 --> 00:16:56,120
a reasonable audience that will will send like we'll play

370
00:16:56,120 --> 00:16:57,960
the left hand side of the audience off against the

371
00:16:58,039 --> 00:17:00,799
right hand side of the audience, which is is brilliant.

372
00:17:00,799 --> 00:17:03,679
Speaker 2: It's brilliant, fun there's some videos on YouTube of that.

373
00:17:03,679 --> 00:17:07,720
Speaker 3: Actually videos of YouTube snaked out it on YouTube. We

374
00:17:07,759 --> 00:17:10,720
did one at the Carlton Tavern and the promoter, Fella

375
00:17:11,599 --> 00:17:15,519
Tom Bright, actually filmed it from behind us, so you

376
00:17:15,559 --> 00:17:19,240
can see the audience shouting back at us, which is

377
00:17:19,279 --> 00:17:21,599
really good. And that's a really good idea that gives

378
00:17:21,640 --> 00:17:22,920
you a really good flavor of what we do.

379
00:17:23,039 --> 00:17:24,440
Speaker 2: Like that must be.

380
00:17:24,799 --> 00:17:27,039
Speaker 1: That must be such a great feeling too. You know,

381
00:17:27,119 --> 00:17:30,440
to have fans, you know, dedicated fans who you know

382
00:17:30,519 --> 00:17:33,960
are well one, you know, on one song making up

383
00:17:34,000 --> 00:17:37,200
their own backing vocals. That's gonna be amazing.

384
00:17:37,680 --> 00:17:40,279
Speaker 3: Well, the other thing, I mean, as you just played spinning,

385
00:17:40,440 --> 00:17:44,319
and we said when when When we first played Spinning,

386
00:17:45,279 --> 00:17:47,559
we played it in a little pub in a little

387
00:17:47,680 --> 00:17:52,400
place called Bracknell in Barkshit, and we started we started playing,

388
00:17:52,480 --> 00:17:54,359
and I always said it sounded like there should be

389
00:17:54,480 --> 00:17:55,799
there should be a line dance for it.

390
00:17:55,799 --> 00:17:56,440
Speaker 2: Or something like that.

391
00:17:56,519 --> 00:17:58,359
Speaker 3: But when we started playing it, there's a couple that

392
00:17:58,440 --> 00:18:02,160
come and see us called Paul and any And one

393
00:18:02,200 --> 00:18:04,079
of the first times we played it, Paul literally just

394
00:18:04,079 --> 00:18:07,440
got up and started spinning in the chorus, which which

395
00:18:07,480 --> 00:18:10,160
is as you say, it's amazing and people don't know

396
00:18:10,559 --> 00:18:12,880
the people that if we Like last night, we were

397
00:18:12,880 --> 00:18:15,799
supporting a band called three Times seven, so their crowd

398
00:18:15,839 --> 00:18:19,160
were there. And because when Paul gets up and start,

399
00:18:19,160 --> 00:18:22,240
Paul and keV were both up spinning last night, their

400
00:18:22,319 --> 00:18:24,640
their crowd can't really work out what's going on? Why

401
00:18:24,640 --> 00:18:28,519
are these people sudden? And that's that's really good. We

402
00:18:28,920 --> 00:18:32,880
play as well. We play in we do some Saturday

403
00:18:32,920 --> 00:18:37,880
afternoon shows in HMV stores. Okay, so we do them

404
00:18:37,880 --> 00:18:40,119
in record shops as well, and we did one in

405
00:18:40,200 --> 00:18:43,640
Woking in Surrey a few weeks ago and Paul came.

406
00:18:43,799 --> 00:18:46,480
Paul's actually spinning through the aisles of an HMV on

407
00:18:46,519 --> 00:18:50,400
Saturday afternoon, which which was quite quite amusing for the shoppers.

408
00:18:50,440 --> 00:18:53,359
Speaker 2: I promise you security not quite so impressive.

409
00:18:54,839 --> 00:18:57,839
Speaker 1: Oh that's very cool. That's very cool. When you when

410
00:18:57,880 --> 00:19:00,640
you guys played, I imagine, I mean you must have enough

411
00:19:00,680 --> 00:19:03,559
material to play a long time, right, Like do you

412
00:19:03,599 --> 00:19:06,119
do multi hour shows? Do you do long shows?

413
00:19:06,960 --> 00:19:08,640
Speaker 2: Well, we could do.

414
00:19:09,400 --> 00:19:11,279
Speaker 3: The thing is we do we do if we just

415
00:19:11,359 --> 00:19:12,880
if we set up our own gigs and we do

416
00:19:12,920 --> 00:19:14,960
our own shows, then we do. Then we'll do a

417
00:19:15,000 --> 00:19:18,640
long set we'll do two sets. We do then when

418
00:19:18,640 --> 00:19:22,640
we can. Generally, as the hmvs are about forty five minutes,

419
00:19:23,160 --> 00:19:25,440
if we get support slots, like last night, we've only

420
00:19:25,440 --> 00:19:27,519
got like half an hour. So as we said, we

421
00:19:27,599 --> 00:19:29,839
just do the bangers. Basically, we do the ones that

422
00:19:30,160 --> 00:19:32,440
are going to get people up, get people sing in,

423
00:19:32,880 --> 00:19:37,160
and get people entertained, because sometimes being an acoustics show,

424
00:19:37,480 --> 00:19:43,599
we sometimes get paired with quiet, nice acoustics sort of

425
00:19:44,440 --> 00:19:47,240
you know, you know, not what we're like at all,

426
00:19:47,759 --> 00:19:50,079
and we are a little we do see it as

427
00:19:50,079 --> 00:19:53,759
a little bit competitive where we will come out, blow

428
00:19:53,839 --> 00:19:56,920
the place away, have everybody singing, and then all of

429
00:19:56,920 --> 00:19:58,799
a sudden, someone's got to come up and play something

430
00:19:58,839 --> 00:19:59,880
really quiet.

431
00:19:59,559 --> 00:20:01,400
Speaker 2: Which is what was it?

432
00:20:01,480 --> 00:20:04,319
Speaker 4: A girl said, well, she apologized that she wasn't as

433
00:20:04,759 --> 00:20:05,440
cheerful as us.

434
00:20:05,759 --> 00:20:07,519
Speaker 3: Yeah, we have the next girl that was on after

435
00:20:07,599 --> 00:20:09,240
us in one of the London gigs, came on and

436
00:20:09,240 --> 00:20:10,920
apologize to the crowd that she wasn't going to be

437
00:20:10,920 --> 00:20:11,880
as cheerful as we were.

438
00:20:11,960 --> 00:20:13,759
Speaker 1: Oh that's funny, that's great.

439
00:20:15,960 --> 00:20:19,319
Speaker 4: So when we do those in longer shows as well,

440
00:20:19,519 --> 00:20:21,839
because you know, we've got quite a lot of material

441
00:20:21,920 --> 00:20:24,440
now and you know, obviously, you always get excited about

442
00:20:24,480 --> 00:20:26,319
the newer stuff and you want to play that, and

443
00:20:26,519 --> 00:20:28,599
there's always the odd song that we haven't done in

444
00:20:28,680 --> 00:20:30,599
ages and someone says, oh, I love that song, you

445
00:20:30,640 --> 00:20:32,079
should bring that back, and then we sort of have

446
00:20:32,160 --> 00:20:34,599
to go back and go okay, so you know, and

447
00:20:34,640 --> 00:20:36,920
that's the thing I think like with any music, once

448
00:20:36,960 --> 00:20:38,920
it kind of is out there, it belongs.

449
00:20:38,960 --> 00:20:40,640
Speaker 2: It doesn't belong to us anymore. You know, we're just

450
00:20:40,720 --> 00:20:43,039
kind of playing what people want to hear.

451
00:20:43,200 --> 00:20:46,240
Speaker 4: Really, so that's that's always quite nice because it's not

452
00:20:46,279 --> 00:20:48,359
always what you think, because you can think, well, that's

453
00:20:48,400 --> 00:20:50,759
the one that people will love, and actually they picked

454
00:20:50,799 --> 00:20:53,480
something else, which is you know, is always an interesting.

455
00:20:55,039 --> 00:20:56,599
Speaker 2: I was talking with Tom Bright again about that.

456
00:20:56,640 --> 00:20:59,039
Speaker 3: Funny enough, we were saying about right, because I write

457
00:20:59,039 --> 00:21:02,160
the lyrics, so we write and you know, they they

458
00:21:02,240 --> 00:21:06,279
mean things to me. But once you once they're out there,

459
00:21:06,559 --> 00:21:08,720
as far as I'm once that, well, me and Tom

460
00:21:08,759 --> 00:21:10,599
were saying that once they're once they're out there, they're

461
00:21:10,599 --> 00:21:13,480
literally that other people will find their own meanings for them.

462
00:21:13,599 --> 00:21:16,359
So I'm not precious about the meaning that I have

463
00:21:16,480 --> 00:21:18,880
and it will mean something different to other people.

464
00:21:19,200 --> 00:21:21,319
Speaker 2: So on once they're out there.

465
00:21:21,160 --> 00:21:23,640
Speaker 3: There, there's there's different meanings they're they're they're out there,

466
00:21:23,640 --> 00:21:25,319
there are other people as far as I'm concerned.

467
00:21:25,920 --> 00:21:28,759
Speaker 1: Yeah, well that makes sense. I mean art is subjective

468
00:21:29,079 --> 00:21:32,200
and everyone can kind of interpret you know that art,

469
00:21:32,240 --> 00:21:34,519
whether it be lyrics or anything else however they want.

470
00:21:35,480 --> 00:21:39,960
I always, uh, it doesn't. This doesn't happen now, But

471
00:21:40,160 --> 00:21:43,920
I remember being a kid, uh and uh not as uh,

472
00:21:44,480 --> 00:21:46,839
you know, not understanding these concepts as well. And if

473
00:21:46,880 --> 00:21:48,599
I if I thought a song, if I heard a

474
00:21:48,599 --> 00:21:51,480
song that I really liked it, I thought meant something specific.

475
00:21:51,519 --> 00:21:53,240
It meant something specific to me, and then I read

476
00:21:53,240 --> 00:21:56,680
an interview with that author, you know, whoever wrote the

477
00:21:56,759 --> 00:21:59,640
lyrics or or or if an author, if it's a

478
00:21:59,720 --> 00:22:01,480
if we're talking about instead of a song, about a

479
00:22:01,480 --> 00:22:04,039
book or a poem or something, and then it turns

480
00:22:04,079 --> 00:22:07,799
out that their intended meaning was different than what I

481
00:22:07,920 --> 00:22:10,920
thought it meant, you know, to me the way I

482
00:22:10,960 --> 00:22:13,759
interpreted it, I would actually be a little bit disappointed, like,

483
00:22:14,160 --> 00:22:15,680
oh I thought it meant this.

484
00:22:16,359 --> 00:22:19,559
Speaker 3: Yeah, absolutely, yeah. So no, you should be allowed it's yours.

485
00:22:19,880 --> 00:22:21,759
You should be allowed to do your own it's up

486
00:22:21,799 --> 00:22:24,279
to you. And saying that you know. I'm sure I

487
00:22:24,400 --> 00:22:28,720
still know songs that I sort of from various bands

488
00:22:28,720 --> 00:22:31,039
over the years and stuff that you know, songs that

489
00:22:31,039 --> 00:22:33,680
you're quite attached to. And now once you find out

490
00:22:33,720 --> 00:22:36,759
you've been singing the wrong word, you know, sometimes you

491
00:22:36,759 --> 00:22:37,160
can get.

492
00:22:37,160 --> 00:22:38,680
Speaker 2: That's not what I thought it was, and now it's

493
00:22:38,720 --> 00:22:39,000
too late.

494
00:22:39,039 --> 00:22:40,599
Speaker 3: I'm going to carry on singing that because that's what

495
00:22:40,640 --> 00:22:41,759
I've been doing for hour long?

496
00:22:41,839 --> 00:22:44,359
Speaker 2: Does that with his own soul? There you go, yes,

497
00:22:44,799 --> 00:22:45,319
very true.

498
00:22:46,319 --> 00:22:48,519
Speaker 1: Here you go. By the way, what does the name

499
00:22:48,559 --> 00:22:51,279
mean naked without It? Where does that come from?

500
00:22:52,480 --> 00:22:54,359
Speaker 2: Well, I'll give you the very short version.

501
00:22:54,640 --> 00:22:59,000
Speaker 3: Is that Naked without It is a line from a

502
00:22:59,119 --> 00:23:03,079
Jane's addiction to Okay from the song Jane says, by

503
00:23:03,160 --> 00:23:06,920
Jane's addiction because yeah, we put it together sort of

504
00:23:06,960 --> 00:23:09,960
like thirty odd years ago, so that was out at

505
00:23:09,960 --> 00:23:12,200
the time, and that was I really like that song.

506
00:23:12,279 --> 00:23:15,039
So we stole like the line naked without It from there,

507
00:23:15,519 --> 00:23:16,880
but Martin has Martin.

508
00:23:16,680 --> 00:23:17,880
Speaker 2: Has a really good version as well.

509
00:23:18,079 --> 00:23:20,519
Speaker 4: So really where it comes from is, like I say,

510
00:23:20,559 --> 00:23:23,240
we were both playing in different bands at that time,

511
00:23:23,319 --> 00:23:26,720
both like full electric bands, and so we had this

512
00:23:26,759 --> 00:23:29,119
little duo. It was just two of us all stripped back,

513
00:23:29,200 --> 00:23:32,599
so it was we were naked without all the other instrumentation,

514
00:23:32,759 --> 00:23:35,119
and so that's.

515
00:23:34,920 --> 00:23:37,920
Speaker 2: Really what's And with the Jane, we were pretty exposed.

516
00:23:38,000 --> 00:23:39,200
Speaker 4: Yeah, so yeah, and it was you know, it was

517
00:23:39,240 --> 00:23:41,759
just us two voices too, same as it is now

518
00:23:42,160 --> 00:23:43,759
and so yeah, so it was quite.

519
00:23:43,640 --> 00:23:45,759
Speaker 2: Exposing to do that. So that's the bands we had.

520
00:23:45,839 --> 00:23:47,880
Speaker 3: The bands we had before were loud, as we said

521
00:23:47,880 --> 00:23:50,240
with the drummer that we had very very loud drummer

522
00:23:51,400 --> 00:23:53,960
and and you know it was yeah, it was a

523
00:23:53,960 --> 00:23:56,640
far more loud on someone. And then when we appeared,

524
00:23:56,720 --> 00:23:58,759
it was just just us two with the acoustics, which

525
00:23:58,880 --> 00:23:59,880
was yeah, it was good.

526
00:24:00,440 --> 00:24:02,799
Speaker 1: No, that makes sense, that makes sense. Uh, this is

527
00:24:02,960 --> 00:24:05,599
a little off subject. But I'm just curious because you

528
00:24:05,599 --> 00:24:08,799
you did bring up Jane's addiction. Did either of you

529
00:24:08,839 --> 00:24:11,599
guys ever get to see James addiction before the implosion?

530
00:24:12,240 --> 00:24:15,640
Speaker 3: Yeah, I said, I saw the original in the day. Yeah, yeah,

531
00:24:16,160 --> 00:24:18,920
I can always remember when did you ever get to

532
00:24:18,920 --> 00:24:19,559
tet to see him?

533
00:24:20,039 --> 00:24:22,559
Speaker 1: I never got to see them, and you know, when

534
00:24:23,039 --> 00:24:25,799
all that happened in Boston. You know, Boston is only

535
00:24:25,839 --> 00:24:28,680
about forty five minutes from where we are uh so

536
00:24:28,680 --> 00:24:31,480
so so we were we were close to it. But

537
00:24:31,119 --> 00:24:33,000
uh but I know I never got to see James

538
00:24:33,039 --> 00:24:35,240
Addiction live and it doesn't sound like I'll ever get

539
00:24:35,279 --> 00:24:37,079
the opportunity. I don't think that. I don't think they'll

540
00:24:37,119 --> 00:24:41,079
be reuniting again after you know, once a Violin.

541
00:24:42,359 --> 00:24:44,680
Speaker 2: Yeah, yeah, now I saw.

542
00:24:44,799 --> 00:24:46,799
Speaker 3: I remember seeing them when they did. They used to

543
00:24:46,839 --> 00:24:49,319
finish off the set. I remember doing Bricks and the Academy.

544
00:24:49,440 --> 00:24:51,519
They used to finish the set with them just playing

545
00:24:51,839 --> 00:24:54,319
like drums across the front of the stage. There was

546
00:24:54,319 --> 00:24:55,920
all four of them just playing. It must be on

547
00:24:55,960 --> 00:24:58,839
YouTube with brums so yeah, see if you can find

548
00:24:58,839 --> 00:25:00,640
out comment what the song was. But it was like

549
00:25:00,920 --> 00:25:03,440
it was finished just with like them playing drums across

550
00:25:03,480 --> 00:25:05,599
the front. They were amazing, Like I think that's part

551
00:25:05,640 --> 00:25:07,799
of Perry Farrell was just a lunatic.

552
00:25:08,039 --> 00:25:09,839
Speaker 2: Yeah, that was great.

553
00:25:10,279 --> 00:25:13,119
Speaker 3: As you said saying about Boston, I've never been to Boston.

554
00:25:13,119 --> 00:25:15,119
I've been New York. I've never been to Boston. I've

555
00:25:15,119 --> 00:25:17,839
always wanted to go because I'm a massive drop Kick

556
00:25:17,880 --> 00:25:24,519
Murphy's fan. Okay, Street Dogs, everybody over that side down

557
00:25:24,519 --> 00:25:25,599
in Boston's amazing.

558
00:25:25,759 --> 00:25:26,400
Speaker 2: I mean, I think.

559
00:25:26,279 --> 00:25:29,119
Speaker 3: The the Murphy's at a bar as well, didn't they

560
00:25:29,200 --> 00:25:31,960
with mcgreevy's or something, which I think shut now, which

561
00:25:32,000 --> 00:25:35,200
is a shame. But yeah, yeah, pretty sure it's shut

562
00:25:35,240 --> 00:25:37,279
in the pandemic. But yeah, I'd love to go there.

563
00:25:37,319 --> 00:25:38,920
But yeah, big up the Murphy's.

564
00:25:39,480 --> 00:25:43,440
Speaker 1: Yeah, no, great, great city. And you know, we're, like

565
00:25:43,480 --> 00:25:45,759
I said, we're we're just forty five minutes north. We're

566
00:25:45,799 --> 00:25:48,039
we're the largest city north of Boston and New England.

567
00:25:48,440 --> 00:25:52,519
But yeah, yeah, but yeah, great great music's Actually the

568
00:25:52,559 --> 00:25:54,799
hat that I'm wearing right now is a bfraid as

569
00:25:54,960 --> 00:25:57,799
a Boston band. But yeah, yeah, we get a lot

570
00:25:57,839 --> 00:25:59,519
of Boston guests on the show. But i'd like to

571
00:25:59,519 --> 00:26:01,319
get James Adiction, but I don't think it's happening.

572
00:26:01,319 --> 00:26:04,400
Speaker 2: Ever. You might have to be careful with that.

573
00:26:04,400 --> 00:26:06,559
Speaker 3: You might be very very very tenderity that it's going

574
00:26:06,599 --> 00:26:07,839
to take some negotiating that one.

575
00:26:07,880 --> 00:26:13,000
Speaker 2: I think there's definitely a skype call that one. Separate rooms.

576
00:26:15,200 --> 00:26:16,759
Speaker 1: Now, are you guys playing on it? Sounds like you

577
00:26:16,759 --> 00:26:18,519
guys play a lot of shows. Do you play a lot?

578
00:26:19,880 --> 00:26:21,799
Speaker 2: Try to get out and do as much as we can.

579
00:26:21,880 --> 00:26:24,559
I mean, you know, it's all I mean, you know,

580
00:26:25,240 --> 00:26:26,240
as I'm sure it is over there.

581
00:26:26,279 --> 00:26:29,240
Speaker 4: I mean, it's a difficult time over here for live music.

582
00:26:29,319 --> 00:26:33,480
A lot of grassroots venues are disappearing and pandemic.

583
00:26:33,039 --> 00:26:33,720
Speaker 2: And that kind of thing.

584
00:26:33,799 --> 00:26:37,359
Speaker 4: So yeah, it is tough, but we try and you know,

585
00:26:37,519 --> 00:26:39,279
just get out where we can and when we can,

586
00:26:39,359 --> 00:26:41,400
and you just get out and see people, and people

587
00:26:41,440 --> 00:26:43,920
are always you know, it's still enjoy going out to

588
00:26:43,920 --> 00:26:47,160
see live music. And I think the less options they

589
00:26:47,240 --> 00:26:50,759
have of places to go, the more they kind of

590
00:26:50,759 --> 00:26:51,039
make the.

591
00:26:51,039 --> 00:26:54,400
Speaker 2: Effort or appreciate it. When they're there. It's life going on.

592
00:26:54,480 --> 00:26:57,039
Speaker 3: So it does tend to it tends to get a

593
00:26:57,079 --> 00:27:01,119
little bit quiet in England now because it's once you're

594
00:27:01,160 --> 00:27:03,880
at December and it's sort of like Christmas season. Everybody

595
00:27:04,000 --> 00:27:06,880
just wants covers bands and party bands and things like that.

596
00:27:07,119 --> 00:27:09,519
So we tend to have like a quieter December and

597
00:27:09,559 --> 00:27:12,440
then go back out in January. It's just sort of

598
00:27:13,480 --> 00:27:18,000
nobody wants. Nobody wants sort of original acoustic stuff at

599
00:27:18,039 --> 00:27:18,400
the moment.

600
00:27:18,400 --> 00:27:18,920
Speaker 2: But that's all right.

601
00:27:19,000 --> 00:27:21,799
Speaker 3: We just use the time to record and promote and

602
00:27:21,839 --> 00:27:24,079
work on everything else, so don't stop us.

603
00:27:24,160 --> 00:27:27,920
Speaker 1: Yeah, absolutely, And you did mention earlier too, so you're

604
00:27:27,960 --> 00:27:31,119
already you've already started working on the next the next songs.

605
00:27:31,480 --> 00:27:33,920
Are you going to do the same approach with these,

606
00:27:33,920 --> 00:27:36,799
where you release them as singles that eventually become an album.

607
00:27:37,160 --> 00:27:40,519
Speaker 3: No, we we've we've we're chucking around ideas at the moment,

608
00:27:40,559 --> 00:27:44,359
we're talking about doing again same thing, just setting ourselves

609
00:27:44,400 --> 00:27:45,160
up for a problem.

610
00:27:45,480 --> 00:27:46,640
Speaker 2: We're talking about four.

611
00:27:46,400 --> 00:27:49,279
Speaker 3: EPs next year, so we're probably going to do for

612
00:27:49,720 --> 00:27:53,960
three track EPs once again, once every three months.

613
00:27:54,160 --> 00:27:54,359
Speaker 1: Yeah.

614
00:27:54,400 --> 00:27:58,000
Speaker 3: I don't want to set these ridiculous, ridiculous, it makes

615
00:27:58,000 --> 00:28:00,279
you work. Yeah, yeah, but we're going to say. Yeah,

616
00:28:00,319 --> 00:28:01,960
so that's what we're looking at the moment, and we

617
00:28:02,119 --> 00:28:06,960
have been toying. We've calling it the twenty five eight okay,

618
00:28:07,039 --> 00:28:12,039
because twenty four to seven would be too easy, So sounds.

619
00:28:10,839 --> 00:28:12,599
Speaker 1: Beut, gotcha, gotcha?

620
00:28:14,200 --> 00:28:14,279
Speaker 2: No.

621
00:28:14,400 --> 00:28:16,640
Speaker 1: I like the I like the idea though of you know,

622
00:28:16,680 --> 00:28:18,960
with the EPs, it's kind of a compromise right between

623
00:28:19,000 --> 00:28:21,519
the full album approach and then the singles versus the

624
00:28:21,559 --> 00:28:24,319
singles that become a full album. You know, that's kind

625
00:28:24,319 --> 00:28:25,319
of like a happy medium.

626
00:28:25,759 --> 00:28:28,559
Speaker 2: What you're like, twelve songs we can stick on an

627
00:28:28,559 --> 00:28:30,400
album exactly exactly.

628
00:28:30,480 --> 00:28:34,200
Speaker 1: Yeah, No, I think that's great. What should before I

629
00:28:34,240 --> 00:28:35,759
let you guys go? And I appreciate it. You've been

630
00:28:35,759 --> 00:28:37,599
generous with your time. We've kept you on for a

631
00:28:37,599 --> 00:28:39,119
while and it's great to talk to you guys. I

632
00:28:39,160 --> 00:28:42,359
love the songs, very very catchy, fun to sing along to.

633
00:28:43,799 --> 00:28:46,359
What should people know? What should our listeners know about

634
00:28:46,359 --> 00:28:48,599
how to find you online? To keep up with everything

635
00:28:48,640 --> 00:28:52,000
that you're doing? Obviously hard for our American listeners to

636
00:28:52,000 --> 00:28:54,759
get to a show, but you know, but as you're

637
00:28:54,759 --> 00:28:57,000
releasing new music, and who knows, maybe you'll maybe you'll

638
00:28:57,160 --> 00:28:59,000
come to the US at some point and you'll get

639
00:28:59,000 --> 00:29:02,079
to see Boston. But what should our listeners know about

640
00:29:02,599 --> 00:29:04,440
how to keep up with you guys online?

641
00:29:05,359 --> 00:29:07,480
Speaker 2: So we start with that. You know, you set us up,

642
00:29:07,519 --> 00:29:10,440
we'll come. You set us up. Some gigs will come

643
00:29:10,440 --> 00:29:12,039
nowherries might cost you a fly us out, but.

644
00:29:12,000 --> 00:29:13,119
Speaker 1: We'll come right right.

645
00:29:13,640 --> 00:29:16,680
Speaker 3: Really, we're really you know, if ninety five point three

646
00:29:16,680 --> 00:29:18,400
you want to pay, and then that's fine, we'll do that.

647
00:29:19,839 --> 00:29:23,759
I'll run it by the bus, Keep playing him spinning,

648
00:29:23,880 --> 00:29:26,400
keep get him a little, give him too many drinks

649
00:29:26,400 --> 00:29:30,559
over Christmas? They have too many, funnally enough, one too

650
00:29:30,640 --> 00:29:33,880
many is a song by this brilliant band from New England.

651
00:29:34,000 --> 00:29:34,599
Speaker 1: That's true.

652
00:29:35,319 --> 00:29:38,079
Speaker 3: Other than that, we are on all the socials, so

653
00:29:38,240 --> 00:29:41,480
we are generally you can find us by searching at

654
00:29:41,759 --> 00:29:44,680
NWY band result.

655
00:29:44,480 --> 00:29:47,240
Speaker 2: Than just starting any search with naked if you.

656
00:29:47,160 --> 00:29:50,839
Speaker 3: Get if you search naked, Naked without It and singles club.

657
00:29:51,400 --> 00:29:54,160
Sometimes the search results aren't actually what you want to

658
00:29:54,200 --> 00:29:55,559
look at.

659
00:29:55,480 --> 00:29:58,640
Speaker 2: Right, But that's just one of them things. We didn't

660
00:29:58,640 --> 00:30:00,279
plan that one very well, you see.

661
00:30:00,400 --> 00:30:06,839
Speaker 3: But yeah, so Instagram is obviously Instagram, dot Instagram, dot com,

662
00:30:06,880 --> 00:30:12,119
forward slash w NWY band that same thing for x

663
00:30:12,799 --> 00:30:15,079
X's nw I band on Facebook.

664
00:30:14,640 --> 00:30:17,200
Speaker 2: So find us on there and on all streaming sites

665
00:30:17,200 --> 00:30:17,599
as well.

666
00:30:17,799 --> 00:30:22,119
Speaker 4: The singles club is available, habits, Bright is available, everything

667
00:30:22,200 --> 00:30:22,599
is there.

668
00:30:22,480 --> 00:30:24,000
Speaker 2: So yeah, and band camp as well.

669
00:30:24,319 --> 00:30:26,279
Speaker 3: If I mean, if people want to want to actually

670
00:30:26,400 --> 00:30:29,480
get a hard copy of the CD or both or

671
00:30:29,519 --> 00:30:32,440
either CD, we can send them out. You can find

672
00:30:32,480 --> 00:30:33,839
them on band camp if you want to do it

673
00:30:33,880 --> 00:30:36,319
through that, or just contact us through the socials and

674
00:30:36,359 --> 00:30:36,720
we can.

675
00:30:37,480 --> 00:30:38,839
Speaker 2: We'll organize to send one.

676
00:30:38,680 --> 00:30:42,960
Speaker 3: Out physical product worldwide, physical products definitely.

677
00:30:42,519 --> 00:30:45,759
Speaker 1: Yes, outstanding, outstanding. In a moment, I'm going to play

678
00:30:45,759 --> 00:30:49,720
this this track, Mallie and then uh, a little bit

679
00:30:49,799 --> 00:30:51,559
later after we let you guys go, We're also going

680
00:30:51,599 --> 00:30:54,119
to play one too Many to close out the hour,

681
00:30:54,200 --> 00:30:56,480
but but we'll let we'll let you guys. You know,

682
00:30:56,480 --> 00:30:58,000
are you guys playing it all this weekend? Do you

683
00:30:58,000 --> 00:30:58,920
have anything this weekend?

684
00:30:59,400 --> 00:31:00,359
Speaker 2: We playedlast night.

685
00:31:00,599 --> 00:31:04,720
Speaker 3: Yeah, we played last night at at a place in

686
00:31:05,559 --> 00:31:06,680
in Sorry called Camberly.

687
00:31:06,839 --> 00:31:08,880
Speaker 2: We played at the Login Lounge, which was really good.

688
00:31:08,920 --> 00:31:09,680
Went down really well.

689
00:31:09,680 --> 00:31:11,440
Speaker 3: As I say, they were they were spinning and they

690
00:31:11,440 --> 00:31:14,559
were dancing, so that went really well. So when you

691
00:31:14,599 --> 00:31:17,200
play one too Many later, you need to work out

692
00:31:17,359 --> 00:31:18,200
where your bit is.

693
00:31:18,960 --> 00:31:19,319
Speaker 2: We did.

694
00:31:19,519 --> 00:31:21,440
Speaker 3: We did a radio interview the other week and that

695
00:31:21,599 --> 00:31:26,319
the DJ was fading his own vocals up and down

696
00:31:26,400 --> 00:31:28,839
for the for the response. So when you play that,

697
00:31:29,680 --> 00:31:31,759
when I sing one too Many, you better be singing

698
00:31:31,799 --> 00:31:32,640
one too many back.

699
00:31:32,799 --> 00:31:34,440
Speaker 2: We'll check that later.

700
00:31:34,720 --> 00:31:42,480
Speaker 3: Yes, yes, interactive, Yes, absolutely, and give Molly a spin

701
00:31:42,559 --> 00:31:47,720
Molly Wash. Yes, Molly was the first is the first

702
00:31:47,720 --> 00:31:51,319
track on the album? Yes, so she's it's a little

703
00:31:51,319 --> 00:31:55,599
bit quiet, but yeah, Molly always goes down worldlive as well.

704
00:31:56,559 --> 00:31:59,039
Speaker 1: Very good, very good. All right, we're gonna we're gonna

705
00:31:59,039 --> 00:32:01,119
play that in the moments, so we'll let you guys go.

706
00:32:01,240 --> 00:32:03,559
Thank you so much for joining us Naked Without It.

707
00:32:03,559 --> 00:32:05,759
It is wonderful to talk to you two gentlemen. And

708
00:32:06,079 --> 00:32:07,839
we'll do this. We'll do this again in the future.

709
00:32:07,839 --> 00:32:10,039
It sounds like you know you're already working on new music,

710
00:32:10,079 --> 00:32:13,160
so well, we will definitely definitely be having you back.

711
00:32:13,799 --> 00:32:16,880
Speaker 2: Absolutely, we'll be with you. That's fantastic. Thanks for having us.

712
00:32:16,920 --> 00:32:18,960
Speaker 1: All right, guys, thank you, we'll talk to you soon.

713
00:32:19,039 --> 00:32:23,319
Take care, you got it, Bye bye? All right. That

714
00:32:23,480 --> 00:32:26,279
is Naked Without It, And uh, let's play this track.

715
00:32:26,519 --> 00:32:29,079
This is This is another catchy one. This is called

716
00:32:29,279 --> 00:32:29,599
Molly