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Speaker 1: You remember.

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Speaker 2: When you were a king looking out the window sea

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in the first snowfall in December, running out the front door,

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racing to catch it on your tongue, but you forgot

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your jacket because he was so excited.

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Speaker 3: And nothing mattered more than making angels in the snow. Baby,

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that's ah pure like that boys, fall of snow.

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Speaker 4: Covering everything weindle up season out of season, and it

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navigates all this time.

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Speaker 1: Leader and ast running toward your the hails a cover

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and go into the lake. I'm racing to the mountain

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top with you for that first time.

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Speaker 5: That I can only fight, soaring down the slopes of

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being in love with you here, Baby, that's a love.

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Speaker 6: That left.

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Speaker 1: You like that forest fall of.

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Speaker 4: Snow covering everything we do.

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Speaker 7: As that have to see?

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Speaker 1: Is that indelegator? Oh this time later and s run

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in Tonio, Run in Tonio. Maybe what the changing series els.

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Speaker 3: Whatever mountains are standing in avenue.

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Speaker 4: I know we keep gliding off the day, coming back

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to do it all.

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Speaker 8: Like cacause they need that.

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Speaker 1: That behind that forests.

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Speaker 4: Covering everything we tell.

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Speaker 1: We don't have to see a king? Can a get old?

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All this time? Lad away and unstay it'll be the

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read away in.

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Speaker 5: Ust be running Tonio, running Tonio.

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Speaker 9: Cause Baby, good morning, everybody, Welcome, here we go.

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Speaker 10: It is that time again, Matt Connorton Unleashed and we

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are live from the studios of WMNH ninety five point

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three FM in glorious Manchester, New Hampshire.

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Speaker 9: Of course, you can stream the show from anywhere.

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Speaker 10: Go to Matt connorton dot com slash live for all

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your live streaming options, social media links, contact infos, show archives,

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et cetera, et cetera. For those of you listening live,

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today is Saturday, December sixth, twenty twenty five, so good

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to have you with us on this very snowy morning

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here in Manchester, Newmpshire. I did not expect to wake

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up to more snow. It snowed obviously a couple of

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days ago here, but this morning it was snowing again.

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I was like, oh, wonderful, and the roads were a

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little slick coming in. They might be better now, I

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don't know. I mean that was about an hour I

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get here, about an hour before the show goes live.

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So if you are listening in your car, please be

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careful driving out there. Definitely a little slippery coming in,

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but welcome everybody. Of course, we have an exciting show

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for you today. The opening track, by the way, that

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was the brand new single from Katie Dobbins. It's called

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Our Love Is Like Snow, so very appropriate of course

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given the weather. So always wonderful to hear a new

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song from Katie Dobbins. She's been on the show many

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times and I'm sure we'll have her back on again soon.

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But she sent us that track and it's just wonderful.

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She has a beautiful voice. By the way, my dad,

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Hello to my father if he is listening. He's a

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big Katie Dobbins fan. Just so happens. But he's also

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recovering from surgery at Mass General. So Dad, if you're listening,

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I love you. I wish you a speedy recovery. I'm

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glad that you've got a path forward with what you've

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been dealing with. So but yeah, so but I do

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love the new song, of course, and we'll probably play

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it again later in the show if you missed it

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in the second or perhaps even in the third hour

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today on Matt Connorton Unleashed.

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Speaker 9: And we're going to play We're gonna start with this track.

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Speaker 10: As we move into the interview portion of the show,

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here brand new track from the Fods called I Get

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Blamed or I don't know if it's brand new, but

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it's pretty new. We really love this project around here,

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the Fods, and we had Rob Critchley from the Fods

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on with us. I don't know who's a couple months ago.

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It all becomes a blur, but we had such a

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fascinating conversation. And but we had a very compressed amount

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of time to work with when we had Rob on

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the first time, so you know, we told him. I

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had Jenny reach out to him right away and say,

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we got to get you back on and you've got

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you know, they're constantly making more music anyway, so let's

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get you back on soon. I want to talk to

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you some more because it's such an interesting project and

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the way that they approach it and their methodology in

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terms of writing and recording and releasing music.

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Speaker 9: So I just heard from Rob a few minutes ago.

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He's waiting for our call.

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Speaker 10: So I told him we're gonna go ahead and hit

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this track I Get Blamed, another great track from the Fods.

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And then when we come back out of the song,

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we will have a rob on with us via WhatsApp.

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So check this out. This is called I get blamed

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and the band is the Fodds.

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Speaker 1: I get blamed for all aten shine.

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Speaker 9: I get blamed for going out, said man.

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Speaker 1: I get blamed when it said show.

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Speaker 9: And get played for being rise.

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Speaker 8: Laughing Donna Delia's ride laughing.

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Speaker 7: Try life shine, you got about you is right?

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Speaker 1: So for now, just day quiet, I'll put you to something.

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Speaker 11: Try to make my life that I've bet you struggle

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to think of nothing that I'd actually like.

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Speaker 12: Nothing gotta say you here. Nothing in my head.

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Speaker 8: Is clear, nothing that's vulnerable. So for now a fair

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hanging on.

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Speaker 9: Your very well, waiting for your luck to tell. What

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is something from your heart or we can't talk about.

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Speaker 8: I get blame for all the sunshine, yet blame for

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going out and.

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Speaker 1: Again plaid.

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Speaker 8: Sad show, and get blame for me nothing that's yours,

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he's my nothing. Got a genuy, not things like you

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want that first play and on my aunty beast. Got

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your see all I did, you got.

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Speaker 13: Your see you?

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Speaker 12: What's it go?

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Speaker 9: It's all I can do for you to make sure

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he's not all.

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Speaker 1: I get blamed for all the same shine.

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Speaker 14: I get blamed. I go outside line, I get played Winwood.

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Speaker 3: Show and I get played for me.

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Speaker 8: I can't play side show, I can't playing don't go

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all time, I can't play.

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Speaker 14: Sign show, and I.

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Speaker 15: Gat play for big.

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Speaker 10: Don't battle on the drum.

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Speaker 12: It. So it's like.

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Speaker 16: I get play at.

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Speaker 1: Anyway, don't see.

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Speaker 9: I love it. That is called I get blamed.

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Speaker 10: The band is the Fodds and we've got Rob Critchley

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on the line via WhatsApp.

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Speaker 9: Rob, are you there?

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Speaker 12: I'm here, Matt, can you hear me?

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Speaker 9: I can, Yes, Welcome back to the show. It's great

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to back.

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Speaker 12: So much for having me.

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Speaker 10: Absolutely. I love that track and you had sent that

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one to us specifically for today.

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Speaker 9: So is that now?

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Speaker 10: I know that's not the but it's not quite the

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newest single, right because I think you've had a couple

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since then, correct.

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Speaker 12: But we've been on a bit of a role. Yeah,

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it's been, as a sort of spoke about last time,

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like finding people to actually sing for us is one

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of our biggest challenges. Yeah, and as we've put more

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music out, people have heard it and as we've approached

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them a bit more willing to engage with us. So

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we say, so those guys headphones Jack's I heard about

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them a long time ago and I just reached out

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to them and they were like, this is a cool tune, like,

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but it took us, you know, a good sort of

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six months to put it down and get everything ready,

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and they're they're visit, they're gigging, and they've got their

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own stuff to do. So we you know, you've got

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to fit fit all these things in around life. So

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while we're doing I get blamed. We're also doing like

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two or three others. So we found ourselves in a

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situation where we had like, you know, I think four

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pretty much completed songs, and we were like, we don't

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know what to do with this, you know, like how

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do how do we even like process it? So we thought, right,

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let's just you know, when they're done, we'll release and

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we'll give each one a month and move on to

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the next one. And it's turned out to be quite

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it's turned out to be quite a good process because

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you sort of not that we're massively relevant, but you

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stay like, you know, producing things, and things keep hitting

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you know, the outside world, and you know, it builds

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a little bit of momentum behind it and it's worked

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out really well for us. So we've got songs up

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to January. We're going to have a release on nineteenth

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of December, and also I think it's the twenty second

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of January. Okay, we've got and then we've got nothing else.

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So February we're like, okay, we need to write something

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or we need to like we've got you know, three

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or three or four other songs, right, it works, but

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they're not really very mature, you know. Like we've got

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one out to one singer and he's done something with

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it and you know it's gotten okay, but like it

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needs a lot of work, and we've got another one

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and out to another. We've got a band in New

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Zealand of all places, looking at one and obviously there's

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a time difference. You've got a factor in and yeah,

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you know, and we sent it to them and do

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it light right, we'll have a look. I know, it's

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only a couple of weeks ago. Yeah, and I checked

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in and they were like nothing yet, okay, all right,

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And it's coming up to Christmas and people get busy,

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and of course I don't think we'll have anything back

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from people until January and then like, okay, so the

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timelines like sort of change a little bit and you're

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sort of going through all this in your head. Yeah,

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you really want to put something else out because everything,

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everything that we've done, like you're getting a little bit

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of a role and you're saying, Okay, this is this

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is you know, the way, a good way of releasing

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things and a good way of you know, the way

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a band should work.

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Speaker 10: Yeah, I kind I kind of chuckled because I remember

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when we had you on the first time, you were

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talking about how there was you had one in since

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where you would send somebody, you would send a vocalist

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a song to work on, and like six months went

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by and they still hadn't gotten back to what they

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had done, and you finally had to move on. And

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from what I recall, I don't remember what song it was,

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but from what I remember you saying, it all worked

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out for the best because then you found another vocalist

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who just did a fantastic job on it, and the

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song came out better than you imagined it anyway. But

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so it kind of all worked out. But it can

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be frustrating when you're depending on other people to, you know,

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to do their part and then get back to you.

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Speaker 12: Right, yeah, that's the one that's going to be released

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in January. Oh okay, So we found someone who was

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like really receptive to it and he really wanted to

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get involved and he wanted to do some music on it,

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and you know, we went back and forth and he said,

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let me try something like this, and he's doing quite

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a lot of the work, which is brilliant. Oh you know,

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that's you want people to be engaged with it, and

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it works out so much, so much better. When people

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are coming back and forth, we really like, we like

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them to go, can we try this instead of this? Right? Yeah, yeah,

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let's let's say because that's what our collaboration should be,

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just sending a song out and words coming back and

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we go, okay, we'll use those words. Yeah.

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Speaker 10: So would you so yeah, would you say this is

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would you say this has been your busiest period with

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the thoughts?

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Speaker 12: Oh for sure, Yeah, for sure. We don't really know

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anything different, to be honest, because like we're still such

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I say, we're an immature band, like we've we did

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the Don't Argue projects and that was just was like

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regurgitating stuff that we did like twenty five years ago. Sure,

239
00:16:43,720 --> 00:16:45,720
we still had to we still had to find people

240
00:16:46,399 --> 00:16:49,360
to do that, and that's that's what took the time, right.

241
00:16:49,480 --> 00:16:53,480
And then then when we released Shopping and the ineffectual

242
00:16:53,559 --> 00:16:58,799
Shopping was an old song. We yeah, all old band

243
00:16:59,679 --> 00:17:03,519
didn't want to use so it got released in the

244
00:17:03,559 --> 00:17:10,839
two thousands, so late nineties, and when when All wanted

245
00:17:10,920 --> 00:17:15,480
to re record other things from that period, like heose

246
00:17:15,640 --> 00:17:18,720
he was with a different band and they put out

247
00:17:18,759 --> 00:17:23,480
a remote album John Covid, and Shopping didn't make that

248
00:17:24,279 --> 00:17:27,839
cut for whatever reason, and so he says, right, let's

249
00:17:27,920 --> 00:17:29,559
do it. Let's put a Fox take on it. And

250
00:17:29,680 --> 00:17:31,599
we did that. So the song was already there. We

251
00:17:31,759 --> 00:17:38,160
just like found a a vocalist, Laura, who did an

252
00:17:38,200 --> 00:17:41,000
amazing job. Like I tweaked the words a little bit,

253
00:17:41,599 --> 00:17:44,599
he bumped up the music a little bit, and then

254
00:17:44,839 --> 00:17:48,480
that was that and then the ineffectuals It was just

255
00:17:48,839 --> 00:17:53,680
like so quick because he put the music down and

256
00:17:54,160 --> 00:17:58,319
it started off with his words and that's basically all

257
00:17:58,400 --> 00:18:00,240
his stuff, so there was really nothing for me to do.

258
00:18:00,599 --> 00:18:02,440
And he was like, I don't like this. I don't

259
00:18:02,519 --> 00:18:06,720
like these words. Will you change them? So I changed

260
00:18:06,759 --> 00:18:09,759
them as we went along. So I was writing as

261
00:18:10,079 --> 00:18:12,680
Joe was going back, and Joe would like, you know,

262
00:18:12,799 --> 00:18:17,119
sender take it, and I go, his vocals are always amazing,

263
00:18:17,759 --> 00:18:21,720
and I go, like, a, stuff's terrible. So we needed to, like,

264
00:18:22,359 --> 00:18:25,079
you know, make it better to fit his vocals as

265
00:18:25,119 --> 00:18:28,440
we went along. So and Joe just turn things around

266
00:18:28,480 --> 00:18:30,759
in a couple of days, like he was incredible to

267
00:18:30,839 --> 00:18:34,839
work with. So me and Or were like, we've got

268
00:18:34,880 --> 00:18:38,079
to match this. So we had to really really level

269
00:18:38,160 --> 00:18:41,680
up our game. And so the willards sort of came out.

270
00:18:41,720 --> 00:18:45,240
They don't they don't really mean anything, just like it's

271
00:18:45,279 --> 00:18:47,319
one of those things where you can say, oh, he's

272
00:18:47,359 --> 00:18:49,440
talking about it, so he's talking about that. I'm not

273
00:18:49,559 --> 00:18:53,519
really I'm trying to fit something in together in quite

274
00:18:53,519 --> 00:18:56,039
a short amount of time and if it comes out,

275
00:18:56,160 --> 00:18:58,519
if it comes out to some someone thinks, so this,

276
00:18:58,799 --> 00:19:01,480
this is what he's talking about. That's brilliant. That's that's

277
00:19:01,559 --> 00:19:03,519
how I want it. I want it to be interpreted

278
00:19:03,640 --> 00:19:08,880
how you want to interpret right, right, just just like

279
00:19:09,079 --> 00:19:12,759
good words, and that's how I try and write my

280
00:19:12,880 --> 00:19:18,480
words anyway, like stuff that sounds like it belongs together.

281
00:19:19,839 --> 00:19:23,599
So so after the ineffectuals were done, we had, like

282
00:19:25,319 --> 00:19:28,079
I've got you know, it's basically poetry. So you write

283
00:19:28,119 --> 00:19:33,000
poetry and then see what happens. See if there's a

284
00:19:33,119 --> 00:19:39,440
a lyric or some sort of guitar or you know,

285
00:19:39,599 --> 00:19:42,559
some sort of beat which goes with those lyrics, with

286
00:19:42,640 --> 00:19:43,319
those pugems.

287
00:19:44,839 --> 00:19:45,559
Speaker 3: So these are.

288
00:19:47,400 --> 00:19:50,720
Speaker 10: I'm sorry, so just to clarify too for a listener.

289
00:19:50,799 --> 00:19:54,160
So so these all start with you, like you said,

290
00:19:54,200 --> 00:19:56,240
you're you're you're coming up with the words, and that's

291
00:19:56,400 --> 00:19:59,119
that's where all of these begin. Right, That's that's like

292
00:19:59,240 --> 00:20:01,240
the that's like the one thing that everything that the

293
00:20:01,319 --> 00:20:04,079
Fodds does as a collective, that's the one thing that

294
00:20:04,279 --> 00:20:05,319
that is the through line.

295
00:20:05,440 --> 00:20:10,920
Speaker 12: Right, Yeah, it's it's my it will always be my words. Yeah,

296
00:20:12,079 --> 00:20:14,759
and in my head. You can try and put them

297
00:20:14,880 --> 00:20:19,839
to a beat or a tempo or a and then

298
00:20:20,720 --> 00:20:23,480
I put them in like a shared folder. Yeah, and

299
00:20:24,599 --> 00:20:27,039
I'll have a look at them and he'll go, oh,

300
00:20:27,160 --> 00:20:29,640
I've got this. I've got this line that I wrote

301
00:20:29,680 --> 00:20:33,079
on the guitar. See if you can put anything together

302
00:20:33,279 --> 00:20:36,000
or what he's doing at the moment with one. Because

303
00:20:36,000 --> 00:20:38,720
I've said I've got these lyrics, he says, I've got

304
00:20:38,759 --> 00:20:42,000
something in my head. I'm going to try and you know,

305
00:20:42,519 --> 00:20:45,039
flesh that out and use these lyrics for it. So

306
00:20:45,559 --> 00:20:48,799
they're always a little bit you know, individual, there always

307
00:20:48,799 --> 00:20:52,759
a little bit different, but it's basically him and I

308
00:20:53,200 --> 00:20:57,119
like trying to balance what each of us has come

309
00:20:57,240 --> 00:20:57,359
up with.

310
00:20:58,039 --> 00:20:58,200
Speaker 1: Right.

311
00:21:00,240 --> 00:21:02,359
Speaker 10: We should talk a little bit too about how this

312
00:21:02,559 --> 00:21:06,640
all works, because for for listeners, especially people listening to

313
00:21:06,680 --> 00:21:09,599
the show who maybe didn't hear our previous conversation I

314
00:21:09,680 --> 00:21:11,440
think I had said to you. To me, it seems

315
00:21:11,559 --> 00:21:14,720
like like the Fods, it's not so much a band,

316
00:21:14,839 --> 00:21:17,160
it's a collective, right, because you work with all these

317
00:21:17,200 --> 00:21:20,000
different people. So someone who doesn't know that might be

318
00:21:20,839 --> 00:21:23,279
confused about Wait a minute. You know, you're sending tracks

319
00:21:23,319 --> 00:21:25,160
to this person and waiting for them to get back

320
00:21:25,160 --> 00:21:26,680
to you with this, and you've got this other person

321
00:21:26,759 --> 00:21:29,440
you're you're working with, So this is I mean, and

322
00:21:29,759 --> 00:21:31,799
it's it's worked this way for a while, right, Like

323
00:21:31,960 --> 00:21:34,279
you you essentially you work with a lot of different

324
00:21:34,880 --> 00:21:37,559
different people. I mean obviously some of the same people too, right,

325
00:21:37,640 --> 00:21:40,039
But but but you work with with a lot of

326
00:21:40,079 --> 00:21:43,359
people on these tracks, they all start the same way, right,

327
00:21:43,440 --> 00:21:44,279
they all start with your.

328
00:21:44,240 --> 00:21:46,119
Speaker 9: Lyrics, But what happens after that.

329
00:21:47,640 --> 00:21:50,279
Speaker 10: Each each song kind of kind of has its own

330
00:21:50,720 --> 00:21:52,640
its own path, shall we say.

331
00:21:52,759 --> 00:21:56,079
Speaker 12: Yeah, yeah, absolutely, each one has its own life. Yeah,

332
00:21:56,079 --> 00:22:01,079
And that sort of depends on who we choose to

333
00:22:01,480 --> 00:22:07,319
to get involved with because everyone works differently. So some people,

334
00:22:08,000 --> 00:22:11,720
you know, like to spend the time and take a

335
00:22:11,799 --> 00:22:15,759
bit of effort and you know, work work with it

336
00:22:15,839 --> 00:22:19,319
how they want to work with it. And some people

337
00:22:19,480 --> 00:22:22,160
just want to bang it out and do what they

338
00:22:22,279 --> 00:22:24,200
think is right and move on to the next thing.

339
00:22:24,359 --> 00:22:28,000
So everyone works differently, So we don't really know if

340
00:22:28,039 --> 00:22:32,759
we will send it out to a vocalist and we

341
00:22:32,880 --> 00:22:35,359
don't really know what they're going to send back, right,

342
00:22:35,960 --> 00:22:38,240
And that that that's half the joy of it, to

343
00:22:38,319 --> 00:22:42,000
be honest. Like, there's a there's a song on They

344
00:22:42,039 --> 00:22:44,960
Don't Argue EP. It's called Volumes of Silence, and I

345
00:22:45,119 --> 00:22:47,359
love it. I think it's a really good song. And

346
00:22:48,119 --> 00:22:52,119
we did that, wrote those songs like when we were

347
00:22:52,160 --> 00:22:56,839
teenagers at school and I don't I don't really I

348
00:22:57,000 --> 00:23:00,039
was out of the music for twenty odd years. I

349
00:23:00,039 --> 00:23:02,400
don't really remember writing that song. I don't really remember

350
00:23:02,480 --> 00:23:06,839
how it sounded when we put it together in twenty

351
00:23:06,960 --> 00:23:10,599
twenty four when we were doing the Don't Argue p

352
00:23:12,119 --> 00:23:15,079
I was like to well, I was like, I know

353
00:23:15,240 --> 00:23:16,920
this is a good song, but I don't really remember

354
00:23:17,000 --> 00:23:19,960
how I mean. He played it and we were like okay,

355
00:23:20,279 --> 00:23:23,119
and we built it and we had it good enough

356
00:23:23,160 --> 00:23:26,960
to send out to a vocalist. Yeah, we found this

357
00:23:27,079 --> 00:23:30,839
guy from the band j h hm, it's called Jeff.

358
00:23:32,119 --> 00:23:36,720
He had this like if you sort of think back

359
00:23:36,799 --> 00:23:39,960
to you know, I'm from originally from Manchester in the UK,

360
00:23:40,200 --> 00:23:44,119
and he had that sort of you know Ian Brown

361
00:23:44,880 --> 00:23:48,279
James sort of vibe, you know, like he he sounded

362
00:23:48,359 --> 00:23:52,119
like he could have been from that era. We're like, okay,

363
00:23:52,160 --> 00:23:55,200
we'll try him. And he came back and he did

364
00:23:55,240 --> 00:23:58,200
it so differently than what we thought he would do

365
00:23:58,319 --> 00:24:03,680
it really, and we were like, it's amazing, it's brilliant.

366
00:24:04,799 --> 00:24:08,119
It's different. That's it's like the whole process. That's like

367
00:24:08,200 --> 00:24:09,920
the whole thing. And there's been a couple that come

368
00:24:10,000 --> 00:24:14,640
back and go like, what do we do this? It's

369
00:24:14,759 --> 00:24:17,200
really it's really not what we wanted. And I really

370
00:24:17,440 --> 00:24:19,839
like they've done it in the wrong key or done

371
00:24:19,880 --> 00:24:23,359
it like so we have to then make that decision

372
00:24:23,400 --> 00:24:25,079
do you do you go back and talk to them

373
00:24:25,119 --> 00:24:27,880
and say, right, we know you, we gave you a

374
00:24:27,920 --> 00:24:30,440
bit of a free reign here, but we don't also

375
00:24:30,759 --> 00:24:33,519
like you to change this a little bit and change

376
00:24:33,519 --> 00:24:37,839
this a little bit and building to building that way.

377
00:24:38,240 --> 00:24:42,599
And most people are quite they're open to that. They

378
00:24:42,640 --> 00:24:46,599
don't mind being told what to do. What was there

379
00:24:46,680 --> 00:24:48,160
was one guy is like, I think it should be

380
00:24:48,200 --> 00:24:53,480
done like this, probably, don't. You know, You've you've got

381
00:24:53,519 --> 00:24:55,359
to be quite diplomatic, and you've got to be quite

382
00:24:56,599 --> 00:24:59,839
you know, sensitive to other artists feelings as well, because

383
00:24:59,880 --> 00:25:02,240
they they're putting their time, they're putting their time and

384
00:25:02,319 --> 00:25:05,160
their energy and not pain. You know, they're not getting

385
00:25:05,160 --> 00:25:08,680
any you know, not giving them a thousand dollars every

386
00:25:08,720 --> 00:25:14,160
time they some lyrics for us. So it's always a

387
00:25:14,240 --> 00:25:16,279
fine balance. And we've got to be happy and they've

388
00:25:16,279 --> 00:25:18,720
got to be happy. And like we as we've gone

389
00:25:18,720 --> 00:25:22,240
out to artists, we we've sort of made that clear

390
00:25:22,480 --> 00:25:26,039
in the in the stuff that we send out to them.

391
00:25:26,160 --> 00:25:29,000
We stay right, we'd love you to do this, but

392
00:25:29,519 --> 00:25:32,079
if you're not happy, if we're not happy, you know,

393
00:25:32,200 --> 00:25:35,039
we you know, we can shake hands and walk away

394
00:25:35,079 --> 00:25:38,319
from it. And we've got because now we've got like

395
00:25:38,400 --> 00:25:44,319
a little bit of you know, we're on our seven

396
00:25:44,359 --> 00:25:46,880
to eight song we're nearly up to you know, doing

397
00:25:46,920 --> 00:25:49,920
an album. Yeah, because we've got that behind us. Now

398
00:25:49,960 --> 00:25:51,799
we've got a bit more confidence and we've got and

399
00:25:51,920 --> 00:25:54,200
we we have the sort of ability to say to

400
00:25:54,279 --> 00:25:59,279
them it's it's I would say, not good enough, it's

401
00:25:59,480 --> 00:26:02,200
it needs to be different, it needs to go a

402
00:26:02,240 --> 00:26:08,480
different way. So it's exciting and these last we're up

403
00:26:08,519 --> 00:26:12,720
to seven songs that are complete and we want to

404
00:26:12,759 --> 00:26:17,119
put a ten song album out at the end, at

405
00:26:17,160 --> 00:26:20,960
the end of Q one, oh excellent. And it's been

406
00:26:21,160 --> 00:26:23,359
and it's been something that always wants to do. It's like,

407
00:26:27,759 --> 00:26:30,279
you know, it's it's really something that he's passionate about

408
00:26:30,359 --> 00:26:33,839
and say, right for him personally, putting an album out

409
00:26:34,359 --> 00:26:37,400
after you know, years and years of writing songs and music,

410
00:26:37,480 --> 00:26:40,160
it's going to it's going to be really something. I'm

411
00:26:41,000 --> 00:26:43,480
really hoping that it's going to be great for him.

412
00:26:44,480 --> 00:26:47,920
I just want to make sure that what we put out,

413
00:26:48,880 --> 00:26:51,079
you know, in the ten track format, however it's going

414
00:26:51,160 --> 00:26:53,440
to look like, is it's what he wants.

415
00:26:53,599 --> 00:26:57,400
Speaker 10: So I would imagine I would imagine too that there

416
00:26:57,480 --> 00:27:00,680
must be a challenge inherent in that. I mean, you know,

417
00:27:01,039 --> 00:27:03,519
I know, it's you're not at the stage out of

418
00:27:03,720 --> 00:27:05,920
probably thinking about the order of the tracks or anything

419
00:27:05,960 --> 00:27:08,279
I would assume, but when you when you do get

420
00:27:08,440 --> 00:27:13,039
to that point, because because of the way this project works,

421
00:27:13,079 --> 00:27:14,799
and like I said, it's more of a collective than

422
00:27:14,839 --> 00:27:18,480
a band. So each song, you know, you've got different vocalists,

423
00:27:18,480 --> 00:27:20,319
you've got different you know, each song kind of really

424
00:27:20,359 --> 00:27:22,680
takes on its own character because when you're putting an

425
00:27:22,680 --> 00:27:26,440
album together, artists try to approach it like, Okay, there

426
00:27:26,559 --> 00:27:30,480
has to be you know, regardless of when or how

427
00:27:30,559 --> 00:27:33,200
these songs were written or how they were recorded, et cetera,

428
00:27:33,279 --> 00:27:37,119
there has to be some sort of cohesion that that

429
00:27:37,279 --> 00:27:40,559
kind of binds all these songs together. And I wonder,

430
00:27:41,000 --> 00:27:43,279
I mean, are you already thinking about the challenge of that.

431
00:27:43,559 --> 00:27:45,839
I mean, obviously there's a through line, right because they

432
00:27:45,880 --> 00:27:47,680
all start the same way. They all start with you

433
00:27:48,319 --> 00:27:51,480
and your words. So maybe that maybe that's the answer,

434
00:27:51,599 --> 00:27:53,640
Maybe that's the through line, But I don't know, I mean,

435
00:27:53,720 --> 00:27:55,839
are you are you already thinking about that?

436
00:27:56,319 --> 00:28:00,359
Speaker 12: At this point we have and we still of throw

437
00:28:00,440 --> 00:28:02,400
it out there, and you know, when a when a

438
00:28:02,480 --> 00:28:06,279
song gets completed. So we've got like a seven track

439
00:28:07,680 --> 00:28:11,839
list at the moment and ours, the two VARs are

440
00:28:11,960 --> 00:28:18,279
very different. So what you're saying is that absolutely correct.

441
00:28:19,279 --> 00:28:24,519
We can't decide on what track to open with. We've

442
00:28:24,839 --> 00:28:27,640
we've pretty much decided what track to close with, and

443
00:28:27,720 --> 00:28:30,480
then there's you know, everything that goes on in the middle.

444
00:28:31,240 --> 00:28:36,559
And I think we'll probably only know this once the

445
00:28:36,640 --> 00:28:41,799
ten tracks have been finished. You know, Well we'll see.

446
00:28:42,279 --> 00:28:44,599
I know it's it can be an important thing. And

447
00:28:45,039 --> 00:28:47,880
we do want to do physical albums, you know, we

448
00:28:48,039 --> 00:28:51,079
we do want to you know, put this as an

449
00:28:51,079 --> 00:28:54,160
old fashioned LP, like five songs on one side, five

450
00:28:54,240 --> 00:28:56,519
songs on the other. So they've got to be logical

451
00:28:57,240 --> 00:29:02,279
from that perspective. Yeah, at the moment, you're absolutely right,

452
00:29:02,400 --> 00:29:06,680
they aren't logical. M I'm not saying I'm worried about it,

453
00:29:06,880 --> 00:29:09,079
like I'm going to get ten songs on an album

454
00:29:09,160 --> 00:29:11,519
and it's going to be we think going to be good.

455
00:29:14,440 --> 00:29:16,640
It is a challenge for us, it's it's it's an

456
00:29:16,720 --> 00:29:21,119
interesting challenge, the one that we've never had to face

457
00:29:21,200 --> 00:29:24,799
before because I don't argue projects. Was just like we

458
00:29:25,200 --> 00:29:27,799
know the order because that's the order that we used

459
00:29:27,799 --> 00:29:32,119
to play them live when we live every Yeah, so

460
00:29:32,880 --> 00:29:34,400
we knew Kickba was going to be in the middle.

461
00:29:34,480 --> 00:29:36,920
We're going to know that metal Dog is the opener,

462
00:29:37,640 --> 00:29:40,440
and so that's how we did it then because that's

463
00:29:40,480 --> 00:29:43,599
what made sense to us. Right this, you know, we've

464
00:29:43,680 --> 00:29:47,319
not played one one of these songs, like maybe that

465
00:29:47,400 --> 00:29:52,519
will change. I don't know, yeah, but it's it's something

466
00:29:52,599 --> 00:29:55,000
that we have thought about. And every time the song,

467
00:29:55,640 --> 00:29:58,240
even even if it doesn't complete, you can sort of

468
00:29:58,240 --> 00:30:01,480
see where it's going when it's like in in mid flow,

469
00:30:03,000 --> 00:30:05,519
we can we can slide this in between these two

470
00:30:05,599 --> 00:30:09,160
songs that that could make a difference. So when we

471
00:30:09,599 --> 00:30:12,799
get through this, he sends me, what's happen, He says,

472
00:30:12,880 --> 00:30:17,200
this is my seventh song order. Yeah, yeah, no, no,

473
00:30:19,559 --> 00:30:23,400
So it will be a conversation that we will have

474
00:30:24,240 --> 00:30:25,960
in probably February or March.

475
00:30:26,279 --> 00:30:30,039
Speaker 10: Yeah, something too that I don't think we touched on

476
00:30:30,160 --> 00:30:32,799
this the last time when you were on the show

477
00:30:32,839 --> 00:30:35,880
before this, But I don't think we talked about distribution,

478
00:30:36,079 --> 00:30:38,240
because I'm curious now you don't you don't have the

479
00:30:38,519 --> 00:30:40,319
fonds is not on Spotify?

480
00:30:40,480 --> 00:30:43,359
Speaker 9: Correct, We we were.

481
00:30:43,319 --> 00:30:49,240
Speaker 12: Having problems with them okay. A few other artists have

482
00:30:49,279 --> 00:30:52,000
said the same thing to us. So we were on

483
00:30:52,079 --> 00:30:56,519
Spotify okay, and we're doing okay, And I don't know

484
00:30:56,599 --> 00:31:00,240
what caused it. I don't know if if you or

485
00:31:00,279 --> 00:31:03,359
anyone else out there has been through issues with Spotify,

486
00:31:04,200 --> 00:31:06,000
they don't really want to talk to you. They'll talk

487
00:31:06,039 --> 00:31:10,200
to your distribution, right, and the distribution will come and

488
00:31:10,240 --> 00:31:15,880
talk to us. And every month Spotify would not like

489
00:31:16,519 --> 00:31:19,519
what's in huge numbers like two thousand or fifteen hundred

490
00:31:19,640 --> 00:31:27,960
or two thousand streams, particularly the ineffectuals. Oh okay, and

491
00:31:28,759 --> 00:31:32,440
so you know, we we weren't doing anything with We

492
00:31:32,599 --> 00:31:34,680
just put it out there and let it and I

493
00:31:34,839 --> 00:31:39,680
was always sending links and sending stuff. But you know,

494
00:31:39,920 --> 00:31:44,200
we don't buy and downloads or anything like that. We

495
00:31:44,839 --> 00:31:49,079
we try and produce it organically or try and we

496
00:31:49,200 --> 00:31:53,519
try to. So after every month, you know, Spotify will

497
00:31:53,559 --> 00:31:59,240
go two thousand streams off gone, and we don't go distributing,

498
00:31:59,400 --> 00:32:04,039
and they'd say, or you're either getting on playlists that

499
00:32:04,200 --> 00:32:08,440
aren't you know, genuine, or the bot run or whatever.

500
00:32:09,960 --> 00:32:12,960
And so after six months of this, we were just like,

501
00:32:14,240 --> 00:32:17,960
it's just not worth it because you're fighting like a

502
00:32:18,119 --> 00:32:22,119
huge conglomerate. Oh yeah, there's there's nothing really could do.

503
00:32:23,359 --> 00:32:26,480
So there was just no real point. And when we

504
00:32:26,640 --> 00:32:32,720
left Spotify, the Ineffectuals had seven thousand streams. Whi's not

505
00:32:32,799 --> 00:32:38,279
bad in itself, It's okay. Yeah, our Spotify rapped came

506
00:32:38,319 --> 00:32:40,400
out even though we were off Spotify and I've not

507
00:32:40,480 --> 00:32:47,240
been on since since August. Yeah, yeah, they said, and

508
00:32:47,680 --> 00:32:50,880
our Spotify rapped, our biggest song of twenty twenty six

509
00:32:51,079 --> 00:32:56,359
was the Ineffectuals, which had been streamed thirty three thousand times. Really,

510
00:32:56,480 --> 00:33:01,200
so they right, So they have just you know, sort

511
00:33:01,240 --> 00:33:03,640
of admitted and I put a post on there and

512
00:33:03,720 --> 00:33:08,440
I was a bit angry and maybe, but as I said,

513
00:33:08,519 --> 00:33:12,400
like in your vanity parade, that is Spotify raps, you've

514
00:33:12,839 --> 00:33:17,640
admitted that we had thirty three thousand genuine streams, and

515
00:33:17,720 --> 00:33:20,160
that's what's in our Spotify rap. But when we came

516
00:33:20,200 --> 00:33:23,920
off your platform, you called every single month and it

517
00:33:23,960 --> 00:33:28,680
was down to seven thousand, and we didn't have any comeback.

518
00:33:28,720 --> 00:33:32,680
We couldn't ask the question. Our distributor was scared of Spotify.

519
00:33:33,279 --> 00:33:35,880
They don't want to talk to them because we've got

520
00:33:35,920 --> 00:33:38,000
so much power and we were like, it doesn't really

521
00:33:38,039 --> 00:33:41,279
matter to us. It's great that we were getting stream

522
00:33:41,480 --> 00:33:45,000
and it's great that people were listening to it every time.

523
00:33:45,440 --> 00:33:48,680
Every time, you know, we we tried to interact with

524
00:33:48,759 --> 00:33:53,319
them or we've tried to understand why they were treating

525
00:33:53,400 --> 00:33:55,480
us like this, and like basically what had happened is

526
00:33:57,519 --> 00:34:01,200
at the start of every month, Spotify would say, oh,

527
00:34:01,519 --> 00:34:07,319
you've earned you know, fifty cents from your you're streaming right,

528
00:34:08,239 --> 00:34:12,079
but we're going to knock two thousand streams off so

529
00:34:12,599 --> 00:34:14,800
you know, down to like ten cents or you owe

530
00:34:14,920 --> 00:34:18,280
this money or something like that. It was, it was

531
00:34:18,400 --> 00:34:20,320
just brutal. Every month. We were like, oh, what they're

532
00:34:20,360 --> 00:34:23,079
going to do this, So we don't really we're not

533
00:34:23,119 --> 00:34:25,159
in this for the money, in this for the streams,

534
00:34:25,400 --> 00:34:27,679
like hopefully we get people to listen to us, hopefully

535
00:34:27,760 --> 00:34:30,519
don't like it. Yeah, but you know, we're at the

536
00:34:30,599 --> 00:34:32,840
end of the day, we're really doing it for, you know,

537
00:34:32,920 --> 00:34:35,559
to get this album out and to make sure that

538
00:34:36,440 --> 00:34:39,679
what we put out continues to be quality. And since

539
00:34:39,719 --> 00:34:42,519
we've come off, we're not we're not sitting there like

540
00:34:42,679 --> 00:34:44,960
looking at streams and we're not worried about it and

541
00:34:45,280 --> 00:34:47,079
it doesn't matter when the first of the month comes

542
00:34:47,159 --> 00:34:51,079
around and right, you know, there's nothing there to to do.

543
00:34:51,320 --> 00:34:54,559
So I don't know if people I don't really follow it,

544
00:34:54,679 --> 00:34:56,400
to be honest, I don't know if people are listening

545
00:34:56,440 --> 00:35:02,400
on Apple or Diser or wherever else. Sure on everything else,

546
00:35:02,679 --> 00:35:05,480
so you can still get it. But like, of course, yeah,

547
00:35:05,760 --> 00:35:09,800
you know, Spotify is just such a they're not going

548
00:35:09,880 --> 00:35:12,880
to be bothered at we're not on it. It's going

549
00:35:12,960 --> 00:35:18,079
to make zero difference to the right rights. It saves us,

550
00:35:18,480 --> 00:35:21,760
just like the the thoughts and people have been very

551
00:35:21,800 --> 00:35:24,000
supportive about it and come back and said, like, I

552
00:35:24,119 --> 00:35:27,039
wish we could do this, but we need our I

553
00:35:27,119 --> 00:35:29,639
think it's you know a lot of people still think that,

554
00:35:30,760 --> 00:35:32,920
you know, our song could make it. You know, it

555
00:35:32,960 --> 00:35:34,760
could get a one hundred thousand streams, it could get

556
00:35:34,760 --> 00:35:38,639
a million streams. Yeah, yeah, like do it, you know,

557
00:35:38,760 --> 00:35:43,960
do what's right for you for us. You know, I

558
00:35:44,000 --> 00:35:45,719
don't think we're ever going to get a hundred thousand

559
00:35:45,760 --> 00:35:47,920
streams or a million streams. You never know, but if

560
00:35:48,000 --> 00:35:50,800
they do, they can go to you know, any other

561
00:35:50,880 --> 00:35:55,320
platform rather than Spotify. So it's just a little stance. Yeah,

562
00:35:55,559 --> 00:35:58,039
it will make no difference, but it's made us feel better.

563
00:35:58,599 --> 00:36:01,840
Speaker 10: Sure, sure, well it it's difficult because you're in a

564
00:36:01,920 --> 00:36:03,599
position where, you know, and this is kind of the

565
00:36:03,679 --> 00:36:06,679
position that everybody's in in a sense, is that we're

566
00:36:06,719 --> 00:36:09,800
all sort of at the mercy of you know, it

567
00:36:09,920 --> 00:36:11,920
comes with big tech. And don't get me wrong, I

568
00:36:12,000 --> 00:36:14,039
love I love tech, and I love that we have

569
00:36:14,159 --> 00:36:17,039
all these resources that we didn't have when I was

570
00:36:17,079 --> 00:36:22,719
growing up and so forth. But you know, you're really

571
00:36:22,800 --> 00:36:25,559
at the mercy of these platforms, you know, no matter

572
00:36:25,639 --> 00:36:28,159
what you're doing. Like, for example, I wasn't able to

573
00:36:28,280 --> 00:36:30,119
stream you know, I like to stream this show to

574
00:36:30,320 --> 00:36:33,480
Facebook when I'm live. I wasn't able to do that

575
00:36:33,599 --> 00:36:35,679
for a month because I was banned from live streaming

576
00:36:36,159 --> 00:36:39,960
and and and they don't like to tell you why.

577
00:36:40,519 --> 00:36:41,079
Speaker 9: They don't.

578
00:36:41,079 --> 00:36:43,039
Speaker 10: They like to tell you that you did something wrong

579
00:36:43,280 --> 00:36:44,800
and so you're banned from And it was the only

580
00:36:44,840 --> 00:36:46,880
thing I was banned from. My account wasn't banned or anything.

581
00:36:46,880 --> 00:36:49,639
I just was banned from streaming. They like to tell

582
00:36:49,679 --> 00:36:52,039
you that you can't do this anymore for a while,

583
00:36:52,159 --> 00:36:54,440
but they don't like to tell you why. You know,

584
00:36:54,880 --> 00:36:56,400
it'd be nice to know why. So then I can

585
00:36:56,440 --> 00:36:58,159
avoid doing it again. But they don't like to tell

586
00:36:58,159 --> 00:36:59,920
you that. But we're all kind of at the mercy

587
00:37:00,159 --> 00:37:02,000
of you know, and they don't like to talk to you,

588
00:37:02,119 --> 00:37:04,119
just like Spotify doesn't like to talk to you. Facebook

589
00:37:04,119 --> 00:37:06,079
doesn't like to talk to you either. I'm amazed that

590
00:37:06,119 --> 00:37:08,039
I was able to get as much information as I did.

591
00:37:08,119 --> 00:37:10,719
You know, YouTube doesn't like to talk to you unless

592
00:37:10,840 --> 00:37:13,960
you're you know, unless you have you know, a million subscribers.

593
00:37:14,400 --> 00:37:17,280
But we're all kind of at the mercy of that.

594
00:37:19,199 --> 00:37:24,639
Speaker 12: Like, there's so many you know, radio shows and podcasts,

595
00:37:24,719 --> 00:37:29,480
and they they like to tag bands on there, so

596
00:37:29,679 --> 00:37:31,760
the band actually knows that they're going to get played,

597
00:37:31,800 --> 00:37:33,559
which is really nice for the band. It's really nice

598
00:37:33,599 --> 00:37:36,800
for the for the podcast or for the radio show. Yeah,

599
00:37:36,840 --> 00:37:39,519
because I'll get you know, a listener for that hopefully.

600
00:37:40,119 --> 00:37:42,920
And if you can't tag something, you just don't know.

601
00:37:43,400 --> 00:37:48,440
So even trying to find out, you know, if you

602
00:37:48,519 --> 00:37:51,480
do okay on radio, it's not easy. You know, You've

603
00:37:51,519 --> 00:37:56,079
got to You've got to really, you know, hunt for stats,

604
00:37:56,199 --> 00:38:00,519
and you know, we we sort of I try and

605
00:38:00,639 --> 00:38:03,519
use what's called online box Radio and they do a

606
00:38:03,599 --> 00:38:07,159
few stats every now and then and they show which

607
00:38:07,239 --> 00:38:11,320
radio stations played it. But I'd say probably only twenty

608
00:38:11,360 --> 00:38:17,159
five percent of the radio stations actually subscribe to online box,

609
00:38:17,360 --> 00:38:20,280
so you're not getting a full picture. And the one thing,

610
00:38:20,519 --> 00:38:22,320
the one thing was Spotify, and they did it so

611
00:38:22,760 --> 00:38:26,480
cleverly is they show you exactly what is. You know,

612
00:38:26,599 --> 00:38:29,360
what's being played, and you can see that you've had

613
00:38:29,440 --> 00:38:32,880
like you know, ten streams or one hundred streams, and

614
00:38:33,320 --> 00:38:36,559
you know, it gives you a little bit of visibility

615
00:38:36,719 --> 00:38:40,239
around what you're actually doing. And I've read I've read

616
00:38:40,320 --> 00:38:45,559
something the other day. You know, if you're not getting

617
00:38:45,639 --> 00:38:49,159
those streams, it's what stops you making music. And I

618
00:38:49,239 --> 00:38:53,920
thot it was really quite poignant that you're not doing

619
00:38:53,960 --> 00:38:55,679
it for yourself, you're doing it for other people. And

620
00:38:56,079 --> 00:38:58,280
I think you've you've really got to be making music

621
00:38:58,360 --> 00:39:00,400
for yourself. And once you get into that mindset, it

622
00:39:00,440 --> 00:39:05,199
doesn't really matter what goes on external. You know, you

623
00:39:05,239 --> 00:39:06,639
can do whatever you want, and if you want to

624
00:39:06,639 --> 00:39:08,559
play gigs, you can play gigs. And if you want to,

625
00:39:09,199 --> 00:39:11,000
you know, set a goal for stream and you can

626
00:39:11,079 --> 00:39:14,199
do that, or you get on radio. Well, if you're

627
00:39:14,199 --> 00:39:17,280
not doing it for yourself first and foremost, then it

628
00:39:17,519 --> 00:39:19,639
doesn't really make too much sense to be doing it,

629
00:39:19,760 --> 00:39:22,800
because if you can't make yourself happy when you're doing it,

630
00:39:22,880 --> 00:39:25,639
it's got to be a joyful experience just making music.

631
00:39:26,280 --> 00:39:27,920
And it's one of the things that we talked about

632
00:39:27,960 --> 00:39:31,639
when we said, like we'll come off spotif because it

633
00:39:31,760 --> 00:39:34,519
was just making things that a little bit too much harder.

634
00:39:34,599 --> 00:39:36,440
We've got you know, we've both got day jobs. We

635
00:39:37,199 --> 00:39:41,079
spend them all our time, you know, chasing up and

636
00:39:41,199 --> 00:39:43,559
figuring out what's going on, and we're just like, you know,

637
00:39:43,679 --> 00:39:46,199
want to try and put it out there, yeah and

638
00:39:47,119 --> 00:39:49,079
move on and like say, yeah, that was a really

639
00:39:49,119 --> 00:39:51,199
good song. We had a great experience with this this

640
00:39:51,320 --> 00:39:54,000
guy who sang it with us. We'll try and replicate

641
00:39:54,039 --> 00:39:56,119
that and the next time we go and then you know,

642
00:39:56,199 --> 00:39:59,679
we go again for another song and the model which

643
00:39:59,719 --> 00:40:04,239
we absolutely stumbled upon because we don't know what we're

644
00:40:04,280 --> 00:40:06,000
going to be doing and it works well for us.

645
00:40:06,360 --> 00:40:09,280
So it's just like it's a good pobby I get

646
00:40:09,440 --> 00:40:12,000
from I get home from work, and you know, I

647
00:40:12,039 --> 00:40:13,519
sit down for a couple of hours. I could do

648
00:40:13,519 --> 00:40:16,320
it all on my phone and I can distribute to

649
00:40:16,440 --> 00:40:21,840
radio shows and find different contacts that may be able

650
00:40:21,880 --> 00:40:25,079
to help, and I don't know, like people may be

651
00:40:25,119 --> 00:40:27,440
getting a bit annoyed with me, but I spent quite

652
00:40:27,440 --> 00:40:29,559
a lot spend quite a lot of time like sending

653
00:40:29,639 --> 00:40:32,559
emails out and saying, you know, here's here's a song

654
00:40:32,599 --> 00:40:34,920
which we think maybe maybe a good fit to your

655
00:40:35,000 --> 00:40:35,519
radio station.

656
00:40:35,840 --> 00:40:36,599
Speaker 9: That's what it takes.

657
00:40:36,719 --> 00:40:41,119
Speaker 12: Yeah, yeah, yeah, no, you know, that's the way we

658
00:40:41,199 --> 00:40:41,360
do it.

659
00:40:41,440 --> 00:40:43,719
Speaker 10: Now I can relate to what you were saying about

660
00:40:43,800 --> 00:40:46,039
radio because so one of the things that I do

661
00:40:46,400 --> 00:40:49,159
in my business, I'm a college radio promoter. So clients

662
00:40:49,280 --> 00:40:51,519
hire me to send their music out to college radio

663
00:40:51,599 --> 00:40:53,760
stations and I do all the follow up and the

664
00:40:53,840 --> 00:40:57,000
tracking and everything and that. But the tracking is the

665
00:40:57,079 --> 00:41:00,280
most challenging part because a lot of these stations don't

666
00:41:00,320 --> 00:41:02,480
report to any kind of a service. So the only

667
00:41:02,559 --> 00:41:06,559
way I know for sure, you know, is is when

668
00:41:06,639 --> 00:41:08,760
the when somebody at the radio station, the music director

669
00:41:08,800 --> 00:41:11,320
or the program director confirms directly with me that yes,

670
00:41:11,400 --> 00:41:15,079
we we have this track in rotation. Okay, can you

671
00:41:15,159 --> 00:41:17,440
give me a spin count? The answer most of the

672
00:41:17,480 --> 00:41:22,559
time is no, you know, but when we can, we

673
00:41:22,639 --> 00:41:25,199
can tell you if it's in you know, heavy rotation.

674
00:41:25,599 --> 00:41:29,000
Or light rotation or whatever. But it's but it's the

675
00:41:29,519 --> 00:41:32,320
single most reliable way is just getting that information directly

676
00:41:32,400 --> 00:41:33,920
from the station because there's so many.

677
00:41:34,159 --> 00:41:35,400
Speaker 9: You know, it used to be easier too.

678
00:41:35,440 --> 00:41:38,519
Speaker 10: There used to be College Music Journal, which technically still exists,

679
00:41:38,559 --> 00:41:40,360
but not in its old form, and you know, you

680
00:41:40,400 --> 00:41:43,159
could get information through them. But now that you know

681
00:41:43,320 --> 00:41:45,639
that went away, they completely changed how they do it.

682
00:41:45,719 --> 00:41:47,360
They don't really do what they used to do. And

683
00:41:47,440 --> 00:41:50,679
now there's all these different services that you can subscribe to,

684
00:41:51,159 --> 00:41:54,360
but it's it's more difficult. Like it's easier in one

685
00:41:54,480 --> 00:41:58,039
sense to find services that report whether your music is

686
00:41:58,079 --> 00:42:01,800
being played at different stations, but it's hard to find

687
00:42:02,400 --> 00:42:05,880
one service that reports all of it. And and then too,

688
00:42:06,880 --> 00:42:09,079
you know, and and actually and and some of these

689
00:42:09,159 --> 00:42:11,760
radio stations they're just like the big tech companies. They

690
00:42:11,760 --> 00:42:13,280
don't want to necessarily talk to you either.

691
00:42:16,119 --> 00:42:18,639
Speaker 12: That's all of taking a leaf out of Spotify and

692
00:42:18,719 --> 00:42:23,840
big techs, you know, stance they have. If big tech

693
00:42:23,920 --> 00:42:26,880
won't talk to you, right.

694
00:42:26,960 --> 00:42:29,639
Speaker 10: Right, why should w E R s in Boston, why

695
00:42:29,679 --> 00:42:32,960
should they talk to me either? You know, and they

696
00:42:33,039 --> 00:42:35,760
do but you know, but but but you mentioned it too.

697
00:42:35,920 --> 00:42:38,360
You have to be persistent, right, And that's that's really

698
00:42:38,440 --> 00:42:40,320
what it takes. You have to be persistent.

699
00:42:41,480 --> 00:42:46,800
Speaker 12: Yeah, you know, we we send an email out for

700
00:42:46,960 --> 00:42:52,280
every release, and one of our problems is as well,

701
00:42:52,840 --> 00:42:54,159
so we we we've got a list. I don't know

702
00:42:54,199 --> 00:42:58,119
how many email addresses are on it. Yeah, I feel guilty.

703
00:42:58,119 --> 00:43:00,280
I feel I do feel quite guilty, but I know

704
00:43:00,360 --> 00:43:04,679
that it's kind of happen. So we send send this

705
00:43:04,760 --> 00:43:06,639
out and it takes like a few hours to send

706
00:43:06,679 --> 00:43:13,360
to every radio station. Book. We we don't stick to

707
00:43:13,440 --> 00:43:18,599
one genre. Oh and you know, some of our stuff

708
00:43:18,679 --> 00:43:21,320
was a little bit heavier, some of it. You know,

709
00:43:21,400 --> 00:43:23,719
it's come out as a bit bluesy. You know, there's

710
00:43:23,760 --> 00:43:29,000
punkin there. So every time we do a different song,

711
00:43:31,159 --> 00:43:34,719
you know you're looking for so, you know, for I

712
00:43:34,800 --> 00:43:36,239
get blamed, I was trying to send it out to

713
00:43:36,800 --> 00:43:40,719
punk stations if that's such a thing, you know, like

714
00:43:41,320 --> 00:43:45,639
a little bit more punky, right, and fanzines and podcasts

715
00:43:45,639 --> 00:43:50,320
and all that sort of stuff. And then after I

716
00:43:50,440 --> 00:43:54,360
get blamed, we released is very much enough and that

717
00:43:54,519 --> 00:43:57,360
is definitely not a punk song, you know. That's that

718
00:43:57,480 --> 00:44:00,119
that's a little bit moody and a bit bluesy and

719
00:44:00,360 --> 00:44:03,159
a bit ballady, and it's very different for what we

720
00:44:03,599 --> 00:44:07,039
what we again sort of set out to do. We know,

721
00:44:07,119 --> 00:44:11,119
we wanted to do something a little bit different, and

722
00:44:11,239 --> 00:44:13,719
for us, like being different is great. But when we

723
00:44:13,800 --> 00:44:16,280
send that song to the punk channel that we sent

724
00:44:16,360 --> 00:44:19,719
to last week, like what is this you just sent us?

725
00:44:20,559 --> 00:44:24,039
We can't play this? And I'm like, well, I class

726
00:44:24,119 --> 00:44:28,639
ourselves as, like in the massive inverted comments, a punk

727
00:44:28,760 --> 00:44:31,559
rock band. And if you have a look at the

728
00:44:31,679 --> 00:44:36,400
term of punk, it's basically anything, you know, like it's

729
00:44:36,440 --> 00:44:41,360
not like sticking to conformity and like playing two courts.

730
00:44:42,239 --> 00:44:45,039
You know, like, of course it can be punk can

731
00:44:45,079 --> 00:44:46,880
be pretty much anything. And you listen. You listen to

732
00:44:46,920 --> 00:44:51,679
a band like the Clash, an original punk band, you

733
00:44:51,760 --> 00:44:56,119
know what, the biggest punk band around probably and you know,

734
00:44:56,239 --> 00:45:00,360
they do clipso music and they do Middle Eastern and

735
00:45:00,400 --> 00:45:03,159
they've done all sorts, and it's just like punk can't

736
00:45:03,239 --> 00:45:07,519
be just you know what is stereotypically thought of, like

737
00:45:07,599 --> 00:45:10,639
a punk song is like a short two minute blast, right,

738
00:45:12,039 --> 00:45:15,599
And so I know that we're sending you a blue song.

739
00:45:16,199 --> 00:45:17,880
You know, give it, give it a try. You don't

740
00:45:17,920 --> 00:45:20,079
have to play it. You know, and the next one

741
00:45:20,199 --> 00:45:23,599
will probably be more punk. Right. But like some people

742
00:45:23,679 --> 00:45:28,159
come by and just so you know, un subscribed, delete

743
00:45:28,159 --> 00:45:30,519
me from this playlist, you know, or some are quite

744
00:45:31,119 --> 00:45:33,719
thanks for this, but I can't play this. That's fine,

745
00:45:34,280 --> 00:45:36,079
you don't. You don't need to play everything, you know,

746
00:45:36,159 --> 00:45:37,280
everything's a little bit different.

747
00:45:38,559 --> 00:45:41,599
Speaker 10: I actually I feel I feel like that what you have,

748
00:45:41,760 --> 00:45:43,400
I mean, it does all you can put it all

749
00:45:43,440 --> 00:45:46,239
in the broader category of indie rock. I feel like,

750
00:45:46,400 --> 00:45:49,960
you know, I mean it all fits that certainly.

751
00:45:50,440 --> 00:45:56,480
Speaker 12: That's exactly what we if we do market that's what

752
00:45:56,599 --> 00:45:59,480
we market ourselves as an indie punk rock back. So

753
00:45:59,800 --> 00:46:04,159
we're sort of straddling genres, you know, and that's what

754
00:46:04,280 --> 00:46:07,840
we want to do, right And going back to your

755
00:46:07,880 --> 00:46:12,440
point about the album, we've got like a a blue

756
00:46:12,480 --> 00:46:15,119
song and a punk song and then shopping and the

757
00:46:15,159 --> 00:46:22,519
ineffectuals which are probably just indie rock. And our latest release,

758
00:46:22,599 --> 00:46:25,280
which is a matter of time, has got a lot

759
00:46:25,320 --> 00:46:29,039
of synth in. It's got like a synth where at

760
00:46:29,079 --> 00:46:32,079
the bottom of it. So I don't even know who

761
00:46:32,159 --> 00:46:34,320
to send that to to be honest. Do we send

762
00:46:34,360 --> 00:46:37,920
that to Electric because it's got a bit of synth

763
00:46:37,960 --> 00:46:40,800
in it. Are they going to like that? Yeah? Or

764
00:46:40,880 --> 00:46:43,639
do we send it to the punk people? Like? It's

765
00:46:43,679 --> 00:46:45,960
been played on a few rock channels and I'm like

766
00:46:46,239 --> 00:46:49,159
that's great. Well, I'm not too sure it is rock,

767
00:46:50,199 --> 00:46:55,039
and so I just hope people see it for what

768
00:46:55,159 --> 00:46:57,880
it is. It's like, what's trying to be a little

769
00:46:57,880 --> 00:47:01,079
bit different and not say do like the same sort

770
00:47:01,079 --> 00:47:04,679
of thing every time? And some people really appreciate that,

771
00:47:04,920 --> 00:47:09,039
and some people don't like it. Well what it is?

772
00:47:09,760 --> 00:47:11,320
Speaker 9: We should uh, we should tell people too.

773
00:47:11,559 --> 00:47:14,079
Speaker 10: Uh you are on band camp, which that's one of

774
00:47:14,159 --> 00:47:15,800
my favorite resources for music.

775
00:47:16,840 --> 00:47:18,000
Speaker 12: It's it's a great place.

776
00:47:18,119 --> 00:47:21,400
Speaker 10: Everything's on band camp and uh band camp too. Something

777
00:47:21,440 --> 00:47:23,360
a lot of people don't realize is that you get

778
00:47:23,400 --> 00:47:25,840
a high quality file, a high bit rate file from

779
00:47:25,880 --> 00:47:28,679
band Camp that you don't necessarily get. So, for example,

780
00:47:28,679 --> 00:47:32,119
if you're just streaming music on YouTube, you know you're

781
00:47:32,159 --> 00:47:35,239
better off streaming music on band camp and downloading it

782
00:47:35,320 --> 00:47:38,039
from there because you're going to get a much higher

783
00:47:38,119 --> 00:47:38,800
quality file.

784
00:47:39,920 --> 00:47:43,360
Speaker 12: I was shocked the difference. I didn't really listen to

785
00:47:43,440 --> 00:47:47,519
band camp. I knew it was out there, and then

786
00:47:48,920 --> 00:47:54,159
I I got sent some bank camp stuff and I

787
00:47:54,280 --> 00:47:55,840
listened to it and I was like, this is brilliant,

788
00:47:56,400 --> 00:47:59,679
and then I put it on a Spotify playlist and

789
00:48:01,199 --> 00:48:02,440
it was terrible on Spotify.

790
00:48:02,719 --> 00:48:02,920
Speaker 1: Yeah.

791
00:48:03,639 --> 00:48:07,119
Speaker 9: Yeah, so you know, it was really.

792
00:48:07,320 --> 00:48:11,719
Speaker 12: Eye opening that that bank Camp's quality was so much better.

793
00:48:12,400 --> 00:48:12,599
Speaker 17: Yeah.

794
00:48:12,760 --> 00:48:15,400
Speaker 10: Absolutely, that's like I said, that's something that's something people

795
00:48:15,480 --> 00:48:16,159
don't realize.

796
00:48:17,719 --> 00:48:19,280
Speaker 9: Rob the time does go quickly.

797
00:48:19,360 --> 00:48:20,840
Speaker 10: I want to make sure, so I think we're going

798
00:48:20,880 --> 00:48:22,960
to end the segment when we when we wrap up

799
00:48:22,960 --> 00:48:24,719
in a couple of minutes with that song A matter

800
00:48:24,760 --> 00:48:27,880
of time. I really like that one a lot later

801
00:48:27,960 --> 00:48:29,679
in the show too. I might I might circle back

802
00:48:29,840 --> 00:48:31,760
and play a couple others if we have time, But

803
00:48:32,119 --> 00:48:34,519
I want to make sure because we were talking about,

804
00:48:35,639 --> 00:48:37,480
you know, not being on Spotify and where you are.

805
00:48:37,880 --> 00:48:41,159
Discoverability is a term that I use a lot. We

806
00:48:41,239 --> 00:48:43,320
want to make sure people do know where to find

807
00:48:43,360 --> 00:48:45,440
like where's the best places to go for people to

808
00:48:45,719 --> 00:48:48,760
find the thods and to keep up with everything that

809
00:48:48,840 --> 00:48:49,440
you're doing.

810
00:48:50,599 --> 00:48:54,239
Speaker 12: And you can. We're on Facebook and we're on Instagram

811
00:48:54,519 --> 00:48:57,079
and obviously bank Camp is a good place for us,

812
00:48:58,559 --> 00:49:03,800
and we're on everything else apart from Spotify, just Spotify.

813
00:49:03,880 --> 00:49:07,320
That is that is I know it goes on for

814
00:49:07,519 --> 00:49:11,480
us now and there's there's gonna be some new places.

815
00:49:11,639 --> 00:49:13,119
I can't remember what they called off the top of

816
00:49:13,199 --> 00:49:16,320
my head because it's all who basically does all the

817
00:49:17,360 --> 00:49:20,360
admit this sort of stuff. But there's there's, there's, there's

818
00:49:21,079 --> 00:49:26,360
you know, a bunch of new I guess they're trying

819
00:49:26,360 --> 00:49:29,960
to disrupt what Spotify and Apple and all these but

820
00:49:30,159 --> 00:49:33,880
like there's posts on our Instagram which explained it, and

821
00:49:34,559 --> 00:49:37,800
we're saying right now we're not on Spotify, will we'll

822
00:49:37,880 --> 00:49:41,360
we'll try these places and the you know, the sort

823
00:49:41,360 --> 00:49:44,559
of people who've got been in the same sort of

824
00:49:44,599 --> 00:49:48,039
situations have got fed up with big tech. I guess

825
00:49:50,400 --> 00:49:52,599
I think that they're run by bands. Let me let

826
00:49:52,639 --> 00:49:55,639
me just have a quick look on my Instagram. Yeah,

827
00:49:55,880 --> 00:49:59,039
and they were run by bands, and they said that

828
00:49:59,079 --> 00:50:03,239
they're gonna and you know, pay a little bit more

829
00:50:03,800 --> 00:50:06,760
and look after the band's a bit better. So we'll

830
00:50:06,760 --> 00:50:13,519
see what we'll see what happens. Subvert It's cool, what

831
00:50:13,760 --> 00:50:18,920
is it? So subvert subvert right, so that this is

832
00:50:19,000 --> 00:50:22,280
going to be like a new place. I didn't know

833
00:50:22,320 --> 00:50:26,400
about this, so check it out and you know, if

834
00:50:26,559 --> 00:50:30,119
if new bands want to get on there and it

835
00:50:31,079 --> 00:50:35,079
looks to be quite an interesting place. And what happens,

836
00:50:35,119 --> 00:50:39,760
you know, anything that you know gives smaller artists a

837
00:50:39,840 --> 00:50:42,960
bigger platform is you know, something that we want to

838
00:50:43,000 --> 00:50:43,480
be involved in.

839
00:50:43,840 --> 00:50:48,039
Speaker 10: Absolutely, And we always need disruptors coming into the frame,

840
00:50:48,599 --> 00:50:51,360
you know, and and better to have more options than less,

841
00:50:51,440 --> 00:50:53,360
and and and all of it too. And you know,

842
00:50:53,440 --> 00:50:56,719
it does get scary when when you've got something like Spotify,

843
00:50:56,840 --> 00:51:01,199
that that becomes so dominant and and so important, you know,

844
00:51:01,320 --> 00:51:03,239
you know, to the point that as as you talked

845
00:51:03,280 --> 00:51:05,880
about earlier, to the point where your own distributor is

846
00:51:05,960 --> 00:51:09,159
afraid to even challenge them on anything. You know, that's

847
00:51:09,480 --> 00:51:11,719
that's how powerful they are. And that's that's too much.

848
00:51:11,840 --> 00:51:14,360
That's that's too much power concentrated in one place.

849
00:51:15,719 --> 00:51:18,559
Speaker 12: Absolutely, and you say, they're only going to get better.

850
00:51:18,639 --> 00:51:21,400
You see the other day Netflix sport.

851
00:51:22,920 --> 00:51:26,440
Speaker 10: MGM, they bought Warner Brothers. Netflix bought Warner Brothers.

852
00:51:26,519 --> 00:51:31,280
Speaker 12: Yeah, how big Netflix could be? You know, if that's

853
00:51:31,960 --> 00:51:36,639
it's insane. The next thing Netflix, Netflix will probably buy

854
00:51:36,719 --> 00:51:40,800
you know, well another story platform, man, can you imagine

855
00:51:40,800 --> 00:51:44,039
it by Amazon or something like that get bigger and bigger.

856
00:51:44,159 --> 00:51:49,599
So I don't know, it's a strange and interesting place.

857
00:51:49,960 --> 00:51:50,199
It is.

858
00:51:52,320 --> 00:51:53,239
Speaker 9: It absolutely is.

859
00:51:53,599 --> 00:51:57,239
Speaker 10: Well listen Rob Critchley from the Thoughts. Always wonderful to

860
00:51:57,320 --> 00:52:00,519
talk with you. I really enjoy our conversations. We'll definitely

861
00:52:00,559 --> 00:52:03,199
do this again in the near future. Obviously you've got uh,

862
00:52:03,599 --> 00:52:06,559
you've got more music coming, so there's always more to

863
00:52:06,639 --> 00:52:07,119
talk about.

864
00:52:08,280 --> 00:52:08,480
Speaker 1: Yeah.

865
00:52:08,679 --> 00:52:12,199
Speaker 18: Absolutely, when we get more and we'll let you know

866
00:52:12,280 --> 00:52:16,360
about the album and please we put it in and yeah,

867
00:52:16,440 --> 00:52:19,280
that'll be that'll be a good place to uh to

868
00:52:19,360 --> 00:52:19,800
talk next.

869
00:52:19,880 --> 00:52:21,519
Speaker 9: I think absolutely absolutely.

870
00:52:21,599 --> 00:52:24,079
Speaker 10: That sounds great. That sounds great. Yeah, so we'll we'll

871
00:52:24,119 --> 00:52:26,360
talk soon for sure. We're gonna let you go and

872
00:52:26,400 --> 00:52:28,480
I'm gonna hit this track a matter of time. Another

873
00:52:28,559 --> 00:52:31,639
great another great song from the Fods. Uh, we'll let

874
00:52:31,679 --> 00:52:33,639
you get going, but Rob, thank you so much and

875
00:52:33,880 --> 00:52:34,639
we'll talk to you soon.

876
00:52:34,679 --> 00:52:37,880
Speaker 12: Man, I appreciate you. Make look after yourself, all right,

877
00:52:37,920 --> 00:52:38,519
I will thank you.

878
00:52:38,679 --> 00:52:39,440
Speaker 9: Take care bye bye.

879
00:52:39,480 --> 00:52:41,960
Speaker 12: All right.

880
00:52:42,000 --> 00:52:44,760
Speaker 10: That is Rob Critchley from the Fods, and I do

881
00:52:44,960 --> 00:52:47,719
really enjoy talking with him, and we're gonna play this

882
00:52:47,880 --> 00:52:50,400
track a matter of time. If you are listening live

883
00:52:50,519 --> 00:52:53,360
on Saturday morning, stick around. Coming up in the second hour,

884
00:52:53,440 --> 00:52:57,079
we have Baron Keismo another great band that I'm really

885
00:52:57,159 --> 00:52:58,960
look that we'll be there first time on the show.

886
00:52:59,039 --> 00:53:01,119
Really looking forward to speaking with them. I'm not sure

887
00:53:01,280 --> 00:53:03,000
how many your Witch members are going to be joining us,

888
00:53:03,039 --> 00:53:06,440
but they will be joining us via Microsoft teams. Can't

889
00:53:06,480 --> 00:53:08,440
wait to talk with them. But in the meantime, this

890
00:53:08,599 --> 00:53:09,920
is again another great song.

891
00:53:10,400 --> 00:53:12,639
Speaker 9: I think this is the newest single. This is a

892
00:53:12,719 --> 00:53:15,360
matter of time and the band is the Fodds.

893
00:53:30,559 --> 00:53:38,719
Speaker 16: Everything is good when in need st be andiver there

894
00:53:38,960 --> 00:53:46,480
works well, it's you enemy. Everything's wrong.

895
00:53:48,159 --> 00:53:49,320
Speaker 12: When I see.

896
00:53:50,719 --> 00:53:55,880
Speaker 1: Crab fail wrong when.

897
00:53:55,760 --> 00:54:05,000
Speaker 6: You swall gone by, yes at on tile the silesimewhere

898
00:54:05,320 --> 00:54:12,280
all those trashs batlen silesime turn sound.

899
00:54:13,559 --> 00:54:14,000
Speaker 1: Real.

900
00:54:22,119 --> 00:54:29,719
Speaker 16: Then an affirm you want the interestiss to breed, Then

901
00:54:29,719 --> 00:54:31,320
an effem you need.

902
00:54:32,639 --> 00:54:35,559
Speaker 12: I just want to see.

903
00:54:36,960 --> 00:54:38,960
Speaker 11: All that you desire.

904
00:54:40,119 --> 00:54:46,320
Speaker 1: Then your guy, I'll be back to sire.

905
00:54:47,280 --> 00:54:53,000
Speaker 14: Lean down on your thigh, some matter on tile.

906
00:54:54,239 --> 00:54:57,400
Speaker 1: Side, don simewhere all.

907
00:54:57,400 --> 00:55:00,119
Speaker 9: Those trash batter and side I.

908
00:55:00,119 --> 00:55:04,320
Speaker 15: Have out on time the time when.

909
00:55:04,159 --> 00:55:10,119
Speaker 14: In all those time and somebod time un time not

910
00:55:10,400 --> 00:55:14,800
of time and read to las sis anout in time

911
00:55:15,639 --> 00:55:18,639
out of the time a time.

912
00:55:18,559 --> 00:55:34,880
Speaker 13: When nothing that shot want, Well, we got of your houses.

913
00:55:35,960 --> 00:55:38,880
Speaker 11: Everything that I always.

914
00:55:39,440 --> 00:55:41,639
Speaker 1: Is in your command.

915
00:55:43,079 --> 00:55:50,920
Speaker 11: It's nothing he change that girl on you. It's get

916
00:55:51,360 --> 00:55:53,360
near the stars.

917
00:55:53,639 --> 00:56:02,360
Speaker 16: For your treas to join trus n on the Times.

918
00:56:02,920 --> 00:56:11,960
Speaker 15: Way All goes Crashing Style, Silen Way, I'll go Style.

919
00:56:12,599 --> 00:56:17,280
Speaker 1: Some styles.

920
00:56:19,119 --> 00:56:24,559
Speaker 15: Last series Ban Styles.

921
00:56:24,679 --> 00:56:51,519
Speaker 11: Ou Nana's Kitchen at Pizzeria.

922
00:56:51,800 --> 00:56:57,840
Speaker 3: From Nana's Hands to York Plate traditional love and taste.

923
00:56:57,960 --> 00:57:06,239
Speaker 1: That's great, so fermented flavor, so true each bite. The

924
00:57:06,480 --> 00:57:09,719
story made just for you.

925
00:57:10,800 --> 00:57:14,559
Speaker 11: Six oh three two three two nine three six six

926
00:57:15,360 --> 00:57:20,639
Nana's Kitchen and Pizzerie fifteen yartmuth Dry Auburn, New Hampshire.

927
00:57:21,920 --> 00:57:23,679
Speaker 1: Kiss.

928
00:57:28,159 --> 00:57:30,960
Speaker 17: The two greatest rock and roll bands of all time

929
00:57:31,119 --> 00:57:34,440
face off as the Chubb Theater hosts tributes to the

930
00:57:34,519 --> 00:57:38,920
Beatles and the Rolling Stone. Beatles Versus Stones, a musical

931
00:57:39,000 --> 00:57:41,639
Showdown comes to Chub Theater at the Capitol Center for

932
00:57:41,719 --> 00:57:45,679
the Arts on Thursday, December eleventh at seven thirty pm.

933
00:57:46,119 --> 00:57:49,159
Tickets can be purchased at the theater box office or

934
00:57:49,239 --> 00:57:53,840
online at CCANH dot com. The Capital Center for the

935
00:57:54,000 --> 00:57:57,440
Arts is located at forty four South Main Street, Conquered,

936
00:57:57,480 --> 00:58:04,760
New Hampshire. The show was appropriate for all ages Luigi's

937
00:58:04,840 --> 00:58:06,320
Pizza Barren Grill.

938
00:58:06,280 --> 00:58:11,320
Speaker 10: Under every One, Let's praise a Slyesan hides with Top

939
00:58:11,400 --> 00:58:14,400
and Toll the Round Pizza Pizza.

940
00:58:14,119 --> 00:58:20,079
Speaker 17: Barr Line Luigi's Pizza Barren Grill, seven to twelve Valley Street, Manchester.

941
00:58:20,400 --> 00:58:23,239
Come on in or call six two two one zero

942
00:58:23,519 --> 00:58:28,559
two one. Luigi keeping the tradition alive since nineteen seventy five.

943
00:58:30,400 --> 00:58:32,199
Speaker 9: Pizza for every one.

944
00:58:32,880 --> 00:58:37,000
Speaker 14: Come join a beast to night with each lye sense

945
00:58:37,039 --> 00:58:39,239
of it, everything feels so.

946
00:58:39,559 --> 00:58:44,960
Speaker 7: Right in times of crisis. You need a law firm

947
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that stands by your side. With over forty years of experience,

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Craig and Getzulis is dedicated to fighting for your rights.

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As former state prosecutors, our attorneys have the knowledge and

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trial experience to provide an aggressive defense against any charge,

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from DUIs to homicides. If you've been injured, our compassionate

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team will assess your case and fight for the compensation

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you deserve. Serving all of New Hampshire, Craigan Getzulis is

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here when you need us most. Visit Craigatzulis dot com

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for a free consultation. Craigan Getzulus your advocates, your.

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Speaker 17: Allies, bring your kitchen to life with Queen Citycabinetry, located

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at eighty seven Elm Street in the historic Sunbeam Mall

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in Manchester. Open Monday through Friday nine am to five

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thirty pm, in Saturdays ten am to two pm. They

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can be reached at six H three two two two

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to zero zero seven or on the web at Queen

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citycabinatree nh dot com. Come see the possibilities. Queen Citycabinetry

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another crowd sponsor of WMNH