1
00:00:00,120 --> 00:00:02,319
Speaker 1: And joining us in studio, and I'm gonna get these

2
00:00:02,359 --> 00:00:04,360
mics up, and we got we got a lot of

3
00:00:04,440 --> 00:00:09,080
mics here, but we've got the guys from Jarraflies here.

4
00:00:09,439 --> 00:00:11,759
Speaker 2: Hello, Hey, good morning, good morning.

5
00:00:11,919 --> 00:00:15,599
Speaker 1: We're gonna do a quick Okay, let's do this because

6
00:00:16,920 --> 00:00:19,160
we have to do kind of a live mic check

7
00:00:19,280 --> 00:00:22,399
on the air soundcheck I should say uh in this case.

8
00:00:22,679 --> 00:00:25,559
So let's start in the corner here and we'll go around.

9
00:00:25,559 --> 00:00:28,399
We'll have each of you tell me who you are,

10
00:00:28,839 --> 00:00:31,519
what you do in Jarraflies and uh, and that'll give

11
00:00:31,519 --> 00:00:33,159
me a chance to kind of do a soundcheck as

12
00:00:33,159 --> 00:00:34,640
we go. So we'll start with you, sir.

13
00:00:34,880 --> 00:00:38,320
Speaker 3: Sure, Yeah, good morning. My name is Steven and uh

14
00:00:39,079 --> 00:00:41,479
I played drums and Jarflies.

15
00:00:41,079 --> 00:00:46,479
Speaker 4: All right, and you Chris von Holwig, singer extraordinaire, here

16
00:00:46,520 --> 00:00:48,280
for your entertainment pleasure.

17
00:00:48,640 --> 00:00:50,320
Speaker 5: I feel like you were an alter ego the last

18
00:00:50,320 --> 00:00:50,920
time you were here.

19
00:00:51,079 --> 00:00:52,679
Speaker 2: Yes, I was the last time I was here.

20
00:00:52,719 --> 00:00:55,719
Speaker 4: It was in another tribute, but we won't promote that

21
00:00:55,759 --> 00:00:57,920
one because we're promoting Jari Flies today.

22
00:00:57,799 --> 00:01:00,240
Speaker 2: Right right, all right, very good you.

23
00:01:00,560 --> 00:01:04,359
Speaker 1: I'm Eric, play guitar, okay, Eric, welcome, and of course

24
00:01:04,400 --> 00:01:06,200
you who you got to be in the five Timers

25
00:01:06,239 --> 00:01:09,200
club by now right, Well, why can't I can't hear

26
00:01:09,239 --> 00:01:10,920
you at all? How come, let's let me figure this

27
00:01:11,000 --> 00:01:15,400
out here. I cannot wait. I think I might know

28
00:01:15,439 --> 00:01:17,319
the problem. Let's try that again.

29
00:01:19,239 --> 00:01:21,920
Speaker 6: Let's see it is Valentine's Day. Screwed them?

30
00:01:21,920 --> 00:01:28,159
Speaker 5: There you are? There, you are? Hello, Chris. Hello, I'm welcome.

31
00:01:28,920 --> 00:01:31,799
Speaker 6: I am Chris and I play guitar and jariflies.

32
00:01:31,359 --> 00:01:32,319
Speaker 5: Also known as H.

33
00:01:32,400 --> 00:01:34,239
Speaker 2: Yes you do.

34
00:01:34,280 --> 00:01:37,840
Speaker 5: You play guitar as H or Chris, and it's always H.

35
00:01:38,200 --> 00:01:40,439
Speaker 6: It's always for the general public.

36
00:01:40,920 --> 00:01:42,840
Speaker 5: There are a lot of chris Is.

37
00:01:44,079 --> 00:01:46,799
Speaker 6: Introduce Chris and I play bass.

38
00:01:47,000 --> 00:01:50,159
Speaker 5: Well say that again, Chris. I'm the third Chris. You're

39
00:01:50,200 --> 00:01:50,879
the third Chris.

40
00:01:50,879 --> 00:01:54,359
Speaker 2: They call me Smith because their creative told me.

41
00:01:56,319 --> 00:01:57,400
Speaker 6: Actually it's Sergeant Baker.

42
00:01:57,680 --> 00:01:58,719
Speaker 7: Yes, Sergeant Baker.

43
00:01:59,519 --> 00:01:59,719
Speaker 5: Lenna.

44
00:01:59,760 --> 00:02:02,400
Speaker 1: Turn this up and I'm gonna turn this down and

45
00:02:02,519 --> 00:02:07,519
let's see. All right, I need the uh, I need

46
00:02:08,080 --> 00:02:09,719
H and Smith to talk a little bit.

47
00:02:10,560 --> 00:02:14,759
Speaker 6: Hello. Okay, here we are today, Chris.

48
00:02:14,800 --> 00:02:15,400
Speaker 5: I'm doing well.

49
00:02:15,400 --> 00:02:16,039
Speaker 8: How are you today?

50
00:02:16,039 --> 00:02:16,319
Speaker 9: All right?

51
00:02:16,479 --> 00:02:17,159
Speaker 6: Thanks for asking you?

52
00:02:17,280 --> 00:02:17,800
Speaker 2: Hear you both.

53
00:02:17,840 --> 00:02:20,000
Speaker 1: I can hear you both, Okay. I think I think

54
00:02:20,000 --> 00:02:23,599
that'll work. So jar flies obviously an Alison Chain's tribute.

55
00:02:23,639 --> 00:02:26,960
I think anyone would uh would would guess I assume

56
00:02:26,960 --> 00:02:27,479
I'm correct.

57
00:02:28,280 --> 00:02:29,840
Speaker 5: Yes, it'd be funny if he came in and it

58
00:02:29,879 --> 00:02:30,400
turns out.

59
00:02:30,240 --> 00:02:34,159
Speaker 6: His note it's actually Mamas in the Puppet this other console.

60
00:02:34,280 --> 00:02:36,000
Speaker 1: Yeah, Mama's in the pop has had a song called

61
00:02:36,080 --> 00:02:40,080
jar Flies. Most people don't realize that. And this is

62
00:02:40,080 --> 00:02:40,879
how new is this?

63
00:02:41,000 --> 00:02:41,199
Speaker 2: Is this?

64
00:02:41,280 --> 00:02:42,719
Speaker 5: Have you guys been doing this for a while or

65
00:02:42,759 --> 00:02:43,439
is this brand new?

66
00:02:43,639 --> 00:02:47,680
Speaker 6: This is pretty new? Okay, kind of kind of spawned

67
00:02:48,680 --> 00:02:53,479
late last year. Oh, so we were doing kind of

68
00:02:53,479 --> 00:02:57,919
another band, original band with the four of us, and

69
00:02:57,960 --> 00:03:01,599
then I ended up breaking my foot. Oh and so

70
00:03:01,639 --> 00:03:03,800
I was playing less drums and I played all these

71
00:03:03,800 --> 00:03:06,560
Aus and Chains songs wherever. Yeah, so I just threw

72
00:03:06,599 --> 00:03:08,960
it out to the guys. I'm like, you guys into

73
00:03:09,240 --> 00:03:14,000
playing like doing a Chain's acoustic project, and uh, They're

74
00:03:14,080 --> 00:03:15,680
immediately were on board. I'm like, well, we need to

75
00:03:15,680 --> 00:03:18,360
get another guitar player, and so just put it out

76
00:03:18,400 --> 00:03:22,120
there in the ether and Eric showed up and it

77
00:03:22,159 --> 00:03:24,479
was a home run from the beginning, and we love him.

78
00:03:24,840 --> 00:03:30,280
Speaker 5: Yeah, that's not a lot of love. What was that?

79
00:03:31,120 --> 00:03:31,280
Speaker 8: Was that?

80
00:03:31,319 --> 00:03:32,840
Speaker 5: An idea that you always kind of had that you

81
00:03:32,879 --> 00:03:34,319
wanted to do, or for.

82
00:03:34,319 --> 00:03:36,800
Speaker 6: Me personally, because I was I had. It's funny because

83
00:03:36,800 --> 00:03:38,759
we have the songbook in the studio, but I had

84
00:03:39,039 --> 00:03:41,400
picked that up when I was in high school, yeah,

85
00:03:41,719 --> 00:03:44,319
just for fun and learned all those songs three hundred

86
00:03:44,400 --> 00:03:47,960
years ago. So it was kind of nice that everybody

87
00:03:48,000 --> 00:03:51,199
was on board yep, yeah, to kind of bring it

88
00:03:51,240 --> 00:03:54,319
out there, and then with all the tribute thing going on,

89
00:03:54,439 --> 00:03:57,039
it's it was it was kind of like, you know,

90
00:03:57,080 --> 00:03:59,319
we play with you know, with edgeways and you know,

91
00:03:59,479 --> 00:04:02,599
anything that's fully plugged in. As we get older, I

92
00:04:02,639 --> 00:04:06,039
was kind of noticing, like this sounds great, right, because

93
00:04:06,039 --> 00:04:08,039
it's hard to get good sound for original bands or

94
00:04:08,039 --> 00:04:12,960
even tribute acts that are subjective to the venue. Yeah

95
00:04:13,039 --> 00:04:14,759
and their sound guy and they don't you know, it's

96
00:04:14,800 --> 00:04:17,040
it's hard. It's oh yeah, you get people in their

97
00:04:17,040 --> 00:04:19,319
forties and fifties who want to go out and enjoy

98
00:04:19,319 --> 00:04:21,959
the night. They don't want to hear screaming guitars for

99
00:04:22,000 --> 00:04:24,920
three hours, or maybe they do, but it gets it

100
00:04:24,959 --> 00:04:27,959
gets taxing right, right. So this is kind of a

101
00:04:27,959 --> 00:04:31,240
play on while we can do it in more intimate venues. Yeah,

102
00:04:32,920 --> 00:04:35,600
and so we we did an open mic night. I'd

103
00:04:35,639 --> 00:04:39,560
never played guitar on live before really, so that was

104
00:04:39,639 --> 00:04:41,600
kind of the challenge of it as well.

105
00:04:41,759 --> 00:04:44,759
Speaker 5: What was that Was that scary or were you nervous?

106
00:04:45,279 --> 00:04:47,040
Speaker 6: Because I usually I hide because I have I bought

107
00:04:47,079 --> 00:04:48,959
a big drums and I get to hide behind him.

108
00:04:49,040 --> 00:04:51,319
Oh yeah, and then I can say, oh, you guys

109
00:04:52,639 --> 00:04:55,959
out there, right right yeah, And I was just tired

110
00:04:55,920 --> 00:05:02,079
of looking at his all these years, right right.

111
00:05:04,040 --> 00:05:07,879
Speaker 1: So, So now, well how many how many songs have

112
00:05:07,879 --> 00:05:11,360
you guys learned to do in this in this format

113
00:05:11,439 --> 00:05:11,759
so far?

114
00:05:11,879 --> 00:05:11,959
Speaker 7: Like?

115
00:05:12,000 --> 00:05:12,360
Speaker 5: How many?

116
00:05:12,560 --> 00:05:15,040
Speaker 6: So the idea was to do the whole MTV and

117
00:05:15,079 --> 00:05:18,920
plugged album. Ok, so we do it as they performed it.

118
00:05:19,079 --> 00:05:22,360
Oh wow, and then we do attack on some bonus tracks.

119
00:05:22,480 --> 00:05:23,160
Speaker 5: Oh very cool?

120
00:05:23,879 --> 00:05:24,639
Speaker 2: Yeah, very cool.

121
00:05:25,560 --> 00:05:29,319
Speaker 5: Have these songs been challenging to learn or some of

122
00:05:29,319 --> 00:05:29,759
them for me?

123
00:05:30,160 --> 00:05:31,399
Speaker 2: Really? Yeah? Yeah?

124
00:05:31,560 --> 00:05:33,519
Speaker 6: Yeah, we're still working. I mean there's a lot of

125
00:05:33,600 --> 00:05:37,319
vocal parts that you know, and chans. It's just tough

126
00:05:37,360 --> 00:05:40,279
to you can't replicate it, you know, Yeah, just so

127
00:05:40,319 --> 00:05:41,480
we try to do the best we can.

128
00:05:42,079 --> 00:05:44,680
Speaker 3: Yeah, dense with nuance, so it's like you can learn

129
00:05:44,720 --> 00:05:48,279
the song, but then nailing the nuances is what takes time.

130
00:05:48,480 --> 00:05:48,800
Speaker 5: Yeah.

131
00:05:48,920 --> 00:05:52,319
Speaker 1: Yeah, and vocally too, So how do you handle you know,

132
00:05:52,399 --> 00:05:57,600
because Lane Staley and Jerry Cantrell singing together, which is

133
00:05:58,360 --> 00:06:00,839
vocally kind of the secret weapon right of the band.

134
00:06:01,000 --> 00:06:02,920
Speaker 5: So I mean, how do you guys handle that?

135
00:06:03,720 --> 00:06:07,000
Speaker 4: Eric has a good high falsetto. I can do both,

136
00:06:07,040 --> 00:06:12,439
but the warmth and tone in you know, basically in

137
00:06:12,519 --> 00:06:14,759
both of their voices, Jerry and Lane. But I do

138
00:06:14,800 --> 00:06:17,199
a lot of the you know, the the warmer, bassier

139
00:06:17,279 --> 00:06:20,319
tones and then he supports me and the you know,

140
00:06:20,399 --> 00:06:25,759
the high, higher falsetto backups and then h will come

141
00:06:25,800 --> 00:06:27,959
in on some of the stuff that you know, acquires

142
00:06:28,199 --> 00:06:31,079
you know, a third voice. Okay, So yeah, so we

143
00:06:31,199 --> 00:06:34,560
make the arrangements work with what, you know, what our

144
00:06:35,079 --> 00:06:35,959
what our strengths are.

145
00:06:36,160 --> 00:06:38,800
Speaker 10: Yeah, try not to do too much with it because

146
00:06:38,800 --> 00:06:40,759
they have together.

147
00:06:41,120 --> 00:06:44,240
Speaker 5: Right right, Absolutely, That's why Eric was the unicorn.

148
00:06:44,279 --> 00:06:48,240
Speaker 3: It's like, yeah, man, play the guitar well and saying

149
00:06:48,279 --> 00:06:49,839
and new material already.

150
00:06:49,800 --> 00:07:02,680
Speaker 11: Yeah yeah, yeah, Eric, you got it.

151
00:07:00,639 --> 00:07:01,160
Speaker 2: I really.

152
00:07:02,879 --> 00:07:08,360
Speaker 5: Fantastic. You're like an angel. Well, I'm dying to hear

153
00:07:08,399 --> 00:07:10,240
something you guys. You guys want to play.

154
00:07:11,199 --> 00:07:12,879
Speaker 6: Yeah, we could do that show.

155
00:07:13,000 --> 00:07:16,000
Speaker 1: That show all right, very good if you're just joined us.

156
00:07:16,040 --> 00:07:18,439
We got our flies here in studio with us.

157
00:07:23,720 --> 00:07:34,519
Speaker 6: Yeah, you guys say when.

158
00:07:38,279 --> 00:07:56,199
Speaker 9: I guess hm m hm hm hm hmm.

159
00:07:58,079 --> 00:08:07,600
Speaker 5: Sorry not to day, not today, alright, Yeah, Mike's picking

160
00:08:07,639 --> 00:08:07,879
it up.

161
00:08:07,879 --> 00:08:08,279
Speaker 2: It's all right.

162
00:08:25,480 --> 00:08:25,920
Speaker 9: M hm.

163
00:08:32,039 --> 00:08:59,840
Speaker 12: H Chase, miss madl we he's the bad that.

164
00:09:04,879 --> 00:09:10,960
Speaker 13: In yet at bad and yet at bat this battle,

165
00:09:16,200 --> 00:09:18,559
no one want to grab.

166
00:09:18,600 --> 00:10:08,960
Speaker 8: Dude, no basical man give themselves three, man give themselves

167
00:10:09,080 --> 00:10:19,519
three and yet have fun and yet have fun repeating

168
00:10:20,200 --> 00:10:31,360
my even yet be mal I feel better.

169
00:10:31,639 --> 00:11:42,679
Speaker 2: Be hm hmm.

170
00:11:42,799 --> 00:11:45,120
Speaker 5: That was great, guys, thank you, Oh my god, that

171
00:11:45,279 --> 00:11:45,759
was so good.

172
00:11:45,960 --> 00:11:47,399
Speaker 6: Nice happy tune for Valentine's Day.

173
00:11:47,600 --> 00:11:49,240
Speaker 5: Yeah, there you go. There you go.

174
00:11:52,960 --> 00:11:53,120
Speaker 2: Eric.

175
00:11:53,159 --> 00:11:55,440
Speaker 1: I'm wondering if when you're for the next one, if

176
00:11:55,480 --> 00:11:57,399
we can get that mic in front of the guitar.

177
00:11:57,960 --> 00:11:59,600
I just want to make sure we're picking you up

178
00:11:59,600 --> 00:12:01,600
a little bit better. If you get I mean you

179
00:12:01,639 --> 00:12:04,399
can pull the the extender there, you can just yeah,

180
00:12:05,279 --> 00:12:07,399
I know it's a it's a little bit awkward, but yeah,

181
00:12:07,840 --> 00:12:09,039
I just want to make sure we're getting you.

182
00:12:09,240 --> 00:12:11,960
Speaker 2: But yeah, you guys, get there you go.

183
00:12:12,519 --> 00:12:15,159
Speaker 1: Yeah, I know it it's awkward. That was the one

184
00:12:15,159 --> 00:12:18,639
advantage of the old studio we had more room. But no,

185
00:12:18,759 --> 00:12:20,799
you guys sound great if you're just joining us. We've

186
00:12:20,840 --> 00:12:25,759
got jar flies here with us in studio and absolutely fantastic.

187
00:12:26,000 --> 00:12:28,080
How many How many shows have you guys been been

188
00:12:28,120 --> 00:12:29,519
doing so far? You've been playing a lot.

189
00:12:30,919 --> 00:12:33,519
Speaker 6: We had one at the beginning of January and we

190
00:12:33,679 --> 00:12:36,320
have a few more lined up.

191
00:12:36,799 --> 00:12:38,360
Speaker 5: Okay, so we have.

192
00:12:40,039 --> 00:12:44,919
Speaker 6: February twenty eighth coming up at the Button Factory in Portsmouth,

193
00:12:45,320 --> 00:12:46,159
but that did sell out.

194
00:12:46,480 --> 00:12:47,519
Speaker 5: Oh, really excellent.

195
00:12:49,120 --> 00:12:51,679
Speaker 6: The first show we did in Milford at Riley's Place,

196
00:12:54,519 --> 00:12:58,159
we got over five hundred people interested on our Facebook

197
00:12:58,320 --> 00:13:00,840
Oh my God event page, which was pretty cool. And

198
00:13:00,879 --> 00:13:05,399
then we ended up going capacity there for our first show,

199
00:13:05,480 --> 00:13:07,519
so that was so it was kind of like a

200
00:13:07,559 --> 00:13:09,720
little bit unexpected. And then we did the Portsmouth show

201
00:13:11,600 --> 00:13:15,879
Rochie Stephen Erica for kind of from that the coast

202
00:13:15,919 --> 00:13:17,559
area something like us, we should try to get out there,

203
00:13:18,159 --> 00:13:20,679
so just trying to find these smaller places and then

204
00:13:20,759 --> 00:13:23,000
that sold out in a few days. And then we

205
00:13:23,159 --> 00:13:30,519
have the Marrigold in Brattleboro, Vermont, March seventh, and then

206
00:13:30,600 --> 00:13:34,480
we have Pembroke City Limits the eighth on the schedule

207
00:13:34,559 --> 00:13:37,360
so far, Oh fantastic, which is trying to forget about.

208
00:13:39,799 --> 00:13:40,960
Speaker 2: That's in the Rochester.

209
00:13:42,960 --> 00:13:44,720
Speaker 5: So you guys are off to a very strong start.

210
00:13:45,200 --> 00:13:45,720
That's great.

211
00:13:45,879 --> 00:13:49,080
Speaker 6: Yeah, so it's it's it's done pretty well with the response.

212
00:13:49,279 --> 00:13:52,039
Ah yeah, really woll so it's kind of nice. Yeah,

213
00:13:52,200 --> 00:13:54,879
that's excellent. That's excellent. Well, I'm dying to hear another one.

214
00:13:54,879 --> 00:13:55,840
You guys want to play another one?

215
00:13:55,919 --> 00:13:56,120
Speaker 5: Yeah?

216
00:13:56,200 --> 00:13:58,360
Speaker 1: Yeah, jar Flies is here with us in the studio

217
00:13:58,360 --> 00:14:03,120
if you're just joining us. Sound amazing, no excuses.

218
00:14:03,639 --> 00:14:04,559
Speaker 12: That's a volume on that.

219
00:14:07,960 --> 00:14:09,679
Speaker 5: Sounds good, sounds good in the headphones.

220
00:14:37,559 --> 00:14:38,600
Speaker 12: It's all right.

221
00:14:41,159 --> 00:14:42,960
Speaker 14: There comes a time.

222
00:14:45,480 --> 00:14:51,120
Speaker 12: You can no search me so mad.

223
00:14:53,799 --> 00:15:03,799
Speaker 15: Lad load, I want to take el no more in

224
00:15:04,200 --> 00:15:13,320
no discarsing to sad. Very day something hits me.

225
00:15:13,840 --> 00:15:15,320
Speaker 14: How so good.

226
00:15:16,799 --> 00:15:20,120
Speaker 15: You found me sitting here, found myself?

227
00:15:20,600 --> 00:15:22,159
Speaker 14: Don't excuse is that?

228
00:15:22,480 --> 00:15:22,960
Speaker 9: I know.

229
00:15:42,039 --> 00:15:43,519
Speaker 12: It's okay.

230
00:15:45,679 --> 00:15:47,440
Speaker 15: And a bdy.

231
00:15:50,120 --> 00:15:55,639
Speaker 12: It's up boo breaking rock, soldry.

232
00:15:58,039 --> 00:16:02,840
Speaker 2: Drained and blue. I believe for you.

233
00:16:05,840 --> 00:16:10,440
Speaker 15: You think it's fine, Well you're telling in it.

234
00:16:14,080 --> 00:16:17,320
Speaker 12: Every day something hits me.

235
00:16:17,840 --> 00:16:22,399
Speaker 9: I'm so cool you can'd me sit it?

236
00:16:22,799 --> 00:16:26,519
Speaker 15: Found myself don't choose his and I.

237
00:16:26,799 --> 00:17:10,480
Speaker 8: Know yes, we'll walk down the line, leave our ray

238
00:17:11,759 --> 00:17:13,839
to go three to walk.

239
00:17:13,759 --> 00:17:15,000
Speaker 12: Some shade.

240
00:17:17,440 --> 00:17:22,720
Speaker 15: You might free. I will be a gread.

241
00:17:25,440 --> 00:17:36,680
Speaker 12: It weed, well love you, weady way red something miss me.

242
00:17:37,200 --> 00:17:38,680
Speaker 14: I'm so cool.

243
00:17:40,079 --> 00:17:45,240
Speaker 15: You find me see it found myself, don't see see.

244
00:17:45,599 --> 00:18:25,599
Speaker 5: And fantastic guys. Wow, thank you.

245
00:18:25,839 --> 00:18:28,000
Speaker 1: If you're just joining us, we have jar Flies here

246
00:18:28,039 --> 00:18:31,799
with us live in studio and yeah, that sounded really

247
00:18:31,920 --> 00:18:32,440
really good.

248
00:18:34,960 --> 00:18:37,799
Speaker 5: Like in terms of long term, do.

249
00:18:37,799 --> 00:18:40,039
Speaker 1: You do you plan to learn other I mean, I

250
00:18:40,279 --> 00:18:42,000
know you talked about doing the you know, the entire

251
00:18:42,079 --> 00:18:44,480
unplugged album and that's kind of the the main thing

252
00:18:44,559 --> 00:18:46,079
and then you but I mean, do you plan on

253
00:18:46,960 --> 00:18:50,759
tackling like maybe other entire Alison Chain's albums in the

254
00:18:50,839 --> 00:18:51,920
future or now.

255
00:18:51,880 --> 00:18:54,599
Speaker 4: We're just adding songs we did. We did also do

256
00:18:54,960 --> 00:18:59,000
stay Away, which is personal favorite. Oh yeah, it ain't

257
00:18:59,079 --> 00:19:04,200
like that, uh, don't follow, But we also did and

258
00:19:04,559 --> 00:19:08,240
we did an acoustic version was still the big vocal

259
00:19:08,279 --> 00:19:11,119
a man in the box to close the show Riley,

260
00:19:11,240 --> 00:19:14,440
So that that and that, you know, because that's a

261
00:19:14,480 --> 00:19:17,799
big song and obviously they're most probably the most one

262
00:19:17,799 --> 00:19:20,400
of their most notable hits, you still need that you

263
00:19:20,480 --> 00:19:23,680
know energy. But yeah, because we had a capacity crowd,

264
00:19:24,319 --> 00:19:26,759
they joined in for everything, so we really got that

265
00:19:26,960 --> 00:19:30,799
you know residence, even without the electrified guitars, so you know,

266
00:19:30,880 --> 00:19:33,359
we're still using the full drums, so we still have

267
00:19:33,440 --> 00:19:35,920
that impact of the drums, which this is a very

268
00:19:37,200 --> 00:19:39,519
drum and bass driven type of music.

269
00:19:39,759 --> 00:19:40,000
Speaker 5: Yeah.

270
00:19:40,079 --> 00:19:42,359
Speaker 2: Yeah, we're a little extra acoustic this morning.

271
00:19:42,599 --> 00:19:45,640
Speaker 5: Yeah, yeah, now this is cool.

272
00:19:45,640 --> 00:19:47,359
Speaker 2: Thrum drummer always gets screwed and the.

273
00:19:49,039 --> 00:19:51,799
Speaker 3: Well, even the guitars aren't amplified, you know, it's like, yeah,

274
00:19:53,440 --> 00:19:55,200
amplified acoustics sounds beautiful.

275
00:19:55,319 --> 00:19:56,960
Speaker 5: Oh yeah, yeah, absolutely.

276
00:19:57,119 --> 00:19:57,279
Speaker 2: Yeah.

277
00:19:57,319 --> 00:19:59,519
Speaker 6: In terms of full albums, we wouldn't do a full album.

278
00:20:00,119 --> 00:20:03,079
I guess technically we could do SAP. We could do set.

279
00:20:03,160 --> 00:20:05,519
They had the four song EP SAP right right, but

280
00:20:05,640 --> 00:20:09,160
there's but Chris Cornell guess vocals on there. There's some

281
00:20:09,200 --> 00:20:12,920
crazy vocals on that album. But yeah, but those would

282
00:20:12,920 --> 00:20:14,039
be some deeper cuts for sure.

283
00:20:14,359 --> 00:20:14,559
Speaker 5: Yeah.

284
00:20:15,240 --> 00:20:18,680
Speaker 6: But we've talked about even some of the newer Allison

285
00:20:18,759 --> 00:20:22,799
Chain's albums without Lane. There's some good songs on those albums. Yeah,

286
00:20:22,839 --> 00:20:24,440
so maybe if we get down the road and then

287
00:20:25,640 --> 00:20:28,720
you know the side projects like mad Season. Oh yeah,

288
00:20:29,200 --> 00:20:30,079
we could do stuff like that.

289
00:20:30,240 --> 00:20:32,319
Speaker 5: I really like that album, mad Season album.

290
00:20:32,440 --> 00:20:33,559
Speaker 6: Yeah, that's a great album.

291
00:20:33,680 --> 00:20:33,839
Speaker 5: Yeah.

292
00:20:33,920 --> 00:20:37,519
Speaker 3: Yeah, so yeah, there's some amount of hits that they

293
00:20:37,599 --> 00:20:39,839
had that didn't on the unplugged album.

294
00:20:40,200 --> 00:20:41,400
Speaker 5: Yeah, that's true too.

295
00:20:41,559 --> 00:20:44,559
Speaker 2: Yeah, those are those are all targets if they translate

296
00:20:44,680 --> 00:20:45,599
well right right.

297
00:20:46,160 --> 00:20:46,400
Speaker 5: Yeah.

298
00:20:47,079 --> 00:20:50,319
Speaker 1: Was there anything that was particularly challenging, I mean, any

299
00:20:50,400 --> 00:20:52,640
anything that you guys kind of had to really work

300
00:20:52,920 --> 00:20:53,839
art out to get it right?

301
00:20:54,359 --> 00:20:58,640
Speaker 6: Yeah, those a few songs over now is a unique tuning. Yeah,

302
00:20:59,759 --> 00:21:01,720
so you know, we have separate guitars for that one.

303
00:21:03,599 --> 00:21:08,240
Speaker 2: Frogs Frogs Cross is a super impressive song.

304
00:21:08,359 --> 00:21:12,200
Speaker 4: But there's a lot of very cool bass parts that

305
00:21:12,279 --> 00:21:15,839
are triggers for me in terms of the vocal Okay

306
00:21:15,880 --> 00:21:22,519
and Laye, whether it's the recording or unplugged his especially

307
00:21:22,559 --> 00:21:25,440
the whole end of the song. It it feels when

308
00:21:25,480 --> 00:21:27,720
you listen to it that it's very much just riffing

309
00:21:27,880 --> 00:21:30,759
and it's out of time, but you have to you know,

310
00:21:30,880 --> 00:21:33,599
you have to count it. But in Lane fashion, he

311
00:21:33,799 --> 00:21:36,799
sings when he wants to sing, when you just kind

312
00:21:36,839 --> 00:21:38,319
of follow what he's doing.

313
00:21:38,640 --> 00:21:40,640
Speaker 6: Yeah, yeah, And to that, a lot of it is

314
00:21:40,839 --> 00:21:44,480
just which is part of where we kind of tried

315
00:21:44,519 --> 00:21:46,960
to do the more intimate gigs. It's it's very viby,

316
00:21:47,480 --> 00:21:50,200
so it's not there's nothing to a grid, there's it's

317
00:21:50,279 --> 00:21:52,960
not specific, it's how we're feeling. Try to find that

318
00:21:53,039 --> 00:21:56,640
pocket so people can really feel and and us just

319
00:21:56,720 --> 00:21:59,960
feel it the music more than just hey, would you

320
00:22:00,079 --> 00:22:02,519
playing a song and we can pull in anybody to

321
00:22:02,519 --> 00:22:04,480
play this. It's not going to be like that as

322
00:22:04,559 --> 00:22:07,400
much because it's it really takes the band to kind

323
00:22:07,440 --> 00:22:10,960
of work together to sell these songs. I think, oh yeah,

324
00:22:11,519 --> 00:22:13,640
versus you know, if you're just playing a bar band,

325
00:22:13,720 --> 00:22:16,680
cover band and you can play Mustang Sally, you can

326
00:22:16,720 --> 00:22:18,839
find three thousand people to play it and they can

327
00:22:18,960 --> 00:22:22,240
kill it and that's fine. Yeah, you know, some of

328
00:22:22,279 --> 00:22:25,400
this stuff is I think it's not super unique, but

329
00:22:25,519 --> 00:22:28,119
it's it's kind of nicer to have that that feel.

330
00:22:28,359 --> 00:22:31,240
Speaker 10: Yeah, you know, it's like you play it too fast

331
00:22:31,319 --> 00:22:33,000
and it kind of takes the mood away. You've really

332
00:22:33,039 --> 00:22:34,680
got to find that pocket in order for it to

333
00:22:34,759 --> 00:22:35,319
come through.

334
00:22:35,480 --> 00:22:36,400
Speaker 5: Right right? Yeah?

335
00:22:36,680 --> 00:22:40,480
Speaker 1: Absolutely? Uh, you guys want to play another one? Sure,

336
00:22:41,480 --> 00:22:43,400
if you're discerning us, we've had jar flies here with

337
00:22:43,519 --> 00:22:47,200
us in studio sounding really good, really good?

338
00:22:47,359 --> 00:22:48,160
Speaker 6: Are we doing on tuning?

339
00:22:48,759 --> 00:22:49,319
Speaker 2: Done in a hole?

340
00:22:50,079 --> 00:22:52,119
Speaker 5: Ooh yeah, I don't want to hear that.

341
00:22:53,400 --> 00:23:24,759
Speaker 12: Good yea berey me stopping this wool.

342
00:23:29,119 --> 00:23:32,400
Speaker 8: And give this part of me.

343
00:23:33,000 --> 00:23:33,920
Speaker 9: Boy you.

344
00:23:38,640 --> 00:23:46,640
Speaker 15: Send rings down near as sing all the rare nowels

345
00:23:47,000 --> 00:23:48,160
in to.

346
00:23:52,640 --> 00:24:00,839
Speaker 16: In blue, sell me a hold, and I don't know

347
00:24:01,119 --> 00:24:16,759
if that can be safe seamen degate lag craze. Oh,

348
00:24:17,119 --> 00:24:21,599
I don't understand. They thought I was abos.

349
00:24:27,039 --> 00:24:37,119
Speaker 15: Look at me now, rain so baby, tell me in

350
00:24:37,319 --> 00:24:52,680
a hope losing myself, tell me in abo any control.

351
00:24:55,759 --> 00:24:58,599
Speaker 5: And that to lie.

352
00:25:02,519 --> 00:25:15,440
Speaker 15: Now it's a pensil tonight. Tell in the hold.

353
00:25:16,079 --> 00:25:19,440
Speaker 8: They put all the stones in the place.

354
00:25:23,480 --> 00:25:27,920
Speaker 15: I beating the stone somewhere tong had been bound off

355
00:25:28,000 --> 00:25:28,799
the tea.

356
00:25:33,240 --> 00:25:34,880
Speaker 9: Where I haven't Fill.

357
00:25:35,359 --> 00:25:45,200
Speaker 12: Me in myself and I will be to know more

358
00:25:45,480 --> 00:25:46,720
on my feeling.

359
00:25:52,319 --> 00:25:53,039
Speaker 15: Tell a.

360
00:25:57,119 --> 00:25:58,240
Speaker 8: Using myself.

361
00:26:01,799 --> 00:26:03,319
Speaker 15: Tell me about.

362
00:26:06,480 --> 00:26:08,119
Speaker 12: Well control.

363
00:26:11,240 --> 00:26:18,880
Speaker 9: Pa to buy from now its.

364
00:26:19,039 --> 00:26:33,680
Speaker 14: Pencil read something and this.

365
00:26:37,680 --> 00:26:50,720
Speaker 8: Said give this stott be bo, you said, say rings down, and.

366
00:26:50,839 --> 00:26:53,599
Speaker 12: Her as said, who.

367
00:26:55,559 --> 00:27:02,839
Speaker 9: Now said to cool?

368
00:27:04,359 --> 00:27:13,039
Speaker 15: To be sad down in a hole, losing my soul

369
00:27:16,519 --> 00:27:21,960
down in the bool, feeling.

370
00:27:21,759 --> 00:27:22,759
Speaker 9: So small.

371
00:27:25,799 --> 00:27:36,400
Speaker 15: Down in a bole, losing myself, tell me a hole.

372
00:27:39,720 --> 00:27:41,359
Speaker 12: Down in control.

373
00:27:45,160 --> 00:27:53,200
Speaker 9: That too. That to the Mollys of Pencil.

374
00:28:19,000 --> 00:28:24,160
Speaker 1: Amazing jar flies here with us in studio and uh yeah,

375
00:28:24,319 --> 00:28:26,200
you guys, sound sounds so good?

376
00:28:26,359 --> 00:28:26,759
Speaker 2: So good?

377
00:28:27,119 --> 00:28:29,920
Speaker 5: Is there what what goes over the best?

378
00:28:30,039 --> 00:28:30,079
Speaker 9: Like?

379
00:28:30,200 --> 00:28:32,039
Speaker 1: Is there something that stands out when you guys play

380
00:28:32,119 --> 00:28:35,039
live that the crowd reacts to the most? Would you say,

381
00:28:36,240 --> 00:28:37,880
is there any one thing that really?

382
00:28:39,440 --> 00:28:39,839
Speaker 2: I feel?

383
00:28:39,880 --> 00:28:43,680
Speaker 4: I feel like we we got exactly what we expected,

384
00:28:43,720 --> 00:28:46,400
which was this was already inside of us from our youth.

385
00:28:46,480 --> 00:28:49,920
So when we brought the project together, we even surprised

386
00:28:49,920 --> 00:28:54,799
ourselves playing it through the first time. Pretty much nine

387
00:28:54,920 --> 00:28:57,200
ten of the songs came to us easy. Yeah, so

388
00:28:57,680 --> 00:29:00,759
the fans, the people came that love it. I think

389
00:29:01,359 --> 00:29:04,519
the thing that I got from it was right Lane's gone,

390
00:29:04,720 --> 00:29:09,359
So there's no availability for anybody who either was alive

391
00:29:09,480 --> 00:29:11,519
during that time and lived it when it was you know,

392
00:29:11,640 --> 00:29:14,880
fresh and new, or is now experiencing it after. So

393
00:29:15,319 --> 00:29:18,079
the looks on the people's faces and them singing the

394
00:29:18,200 --> 00:29:22,319
songs along with me, everything seemed to be their favorite.

395
00:29:22,440 --> 00:29:23,960
Speaker 2: Yeah, everything was a hit. Of course.

396
00:29:24,079 --> 00:29:26,440
Speaker 4: You know, Man in the box, down in a Hole

397
00:29:26,480 --> 00:29:30,160
that we just did are very big, you know, notable songs.

398
00:29:30,720 --> 00:29:32,440
But I would say the crowd that we have there,

399
00:29:33,039 --> 00:29:35,640
they may have even known the music better than we did. Yeah,

400
00:29:36,160 --> 00:29:39,200
so I could have handed the mic off several times

401
00:29:39,279 --> 00:29:43,279
people were doing it, yeah, saying that you Chris.

402
00:29:43,640 --> 00:29:43,839
Speaker 2: Yeah.

403
00:29:43,880 --> 00:29:46,960
Speaker 7: The reaction from the people, I think I underestimated I

404
00:29:47,000 --> 00:29:50,799
guess how popular they were because I wasn't expecting people

405
00:29:50,839 --> 00:29:53,200
like they were singing along and like to some of

406
00:29:53,240 --> 00:29:55,000
the songs. I didn't expect it to. It was like, okay,

407
00:29:55,519 --> 00:29:56,480
kind of neat to see, you know.

408
00:29:56,720 --> 00:29:58,200
Speaker 2: Yeah, I second that.

409
00:29:58,359 --> 00:30:01,279
Speaker 3: I think that is the I guess thing that blew

410
00:30:01,400 --> 00:30:05,200
me away was that I, you know, like most of us,

411
00:30:05,359 --> 00:30:09,079
like the suggestion to learn these songs was like, yeah,

412
00:30:09,160 --> 00:30:11,799
of course, like it's always fun, yeah to pick up

413
00:30:11,799 --> 00:30:15,880
a new challenge and play a thing. But I had

414
00:30:15,960 --> 00:30:19,279
no idea that it would get the response that it did. Yeah,

415
00:30:19,400 --> 00:30:22,960
Like we didn't bring more than like something like less

416
00:30:23,000 --> 00:30:25,480
than ten percent of the people their family and friends

417
00:30:25,519 --> 00:30:28,759
of ours. Yeah, like just like organic people just yea

418
00:30:28,920 --> 00:30:32,319
like brought that place to capacity just because they love

419
00:30:32,359 --> 00:30:33,079
Alice and chains.

420
00:30:33,279 --> 00:30:33,480
Speaker 2: Yeah.

421
00:30:33,799 --> 00:30:36,480
Speaker 3: We're seeing that at the other gigs that we've posted too,

422
00:30:36,640 --> 00:30:39,880
So I think that's the biggest surprise.

423
00:30:41,799 --> 00:30:44,319
Speaker 2: That's great. Yeah, it's a great response.

424
00:30:44,480 --> 00:30:46,799
Speaker 4: The return after the show when it was over, that

425
00:30:47,640 --> 00:30:52,279
you know, people told me was that the music at

426
00:30:52,319 --> 00:30:54,599
some point in their lives did something to help them,

427
00:30:55,240 --> 00:30:58,599
you know, as some of the content can be downtrodden

428
00:30:58,640 --> 00:31:02,039
and depressing as it is, Uh, it's a reflection of

429
00:31:02,119 --> 00:31:04,880
human emotion. So I think the return from people was

430
00:31:05,039 --> 00:31:07,640
I would will never have and didn't have the opportunity

431
00:31:07,680 --> 00:31:13,160
to see this and for real, but you doing this

432
00:31:13,559 --> 00:31:16,680
gives me the opportunity to experience it the way you know,

433
00:31:16,839 --> 00:31:19,599
maybe you know, whatever my parents or I may have

434
00:31:19,680 --> 00:31:21,960
if I was a little older or something during whatever

435
00:31:22,079 --> 00:31:23,640
time of their life and age groups.

436
00:31:23,720 --> 00:31:26,480
Speaker 2: So yeah, I don't remember her name, but we did

437
00:31:26,599 --> 00:31:27,240
find out.

438
00:31:27,200 --> 00:31:30,519
Speaker 4: That one of the employees there at Riley's was actually

439
00:31:30,759 --> 00:31:33,279
there at the Unplugged in nineteen ninety seven.

440
00:31:35,720 --> 00:31:37,440
Speaker 6: She worked for a Hipperator magazine.

441
00:31:37,519 --> 00:31:40,480
Speaker 4: Yeah, oh no, kiddy in wild that's wild amazing. Yeah,

442
00:31:40,680 --> 00:31:42,519
so she she saw the real thing and she was

443
00:31:42,720 --> 00:31:46,599
very instrumental. Because that's the part we left out is

444
00:31:46,759 --> 00:31:49,359
we just went to Riley's to do an open mic

445
00:31:49,839 --> 00:31:54,160
maybe a month and a half before. Yet it got

446
00:31:54,200 --> 00:31:57,359
such a good response. They asked us to come back,

447
00:31:57,400 --> 00:32:00,799
and I think she she was instrumental in doing. They said,

448
00:32:01,039 --> 00:32:02,640
you need to get these guys in. I've seen the

449
00:32:02,680 --> 00:32:04,960
real thing, and they do they do good jobs.

450
00:32:06,119 --> 00:32:08,279
Speaker 5: Oh that's yeah, that's an incredible validation.

451
00:32:08,599 --> 00:32:08,799
Speaker 2: Yeah.

452
00:32:09,759 --> 00:32:13,640
Speaker 6: Yeah, because conveniently they Fridley's was booked for a long time,

453
00:32:13,759 --> 00:32:14,960
then the date opened up.

454
00:32:15,079 --> 00:32:19,680
Speaker 2: Yeah, we appreciate it. Thank you for having me.

455
00:32:20,160 --> 00:32:21,200
Speaker 5: Yeah, no doubt, no doubt.

456
00:32:21,839 --> 00:32:24,240
Speaker 1: I'm also curious and you know, for any any of

457
00:32:24,279 --> 00:32:27,519
you who want to address this, like, what what is

458
00:32:27,559 --> 00:32:31,240
it about Alison Chains that that made or makes a

459
00:32:31,279 --> 00:32:33,519
lot because they still exist obviously, but that makes that

460
00:32:33,680 --> 00:32:37,400
band so special because off the top of my head, like,

461
00:32:37,480 --> 00:32:40,559
there's nobody who sounds like Alice in Chains, you know

462
00:32:40,599 --> 00:32:43,160
what I mean, There's nobody who quite sounds like them.

463
00:32:43,599 --> 00:32:46,039
So they're unique in in a you know, in a

464
00:32:46,160 --> 00:32:49,480
universe where you know, everybody you know sounds like somebody

465
00:32:49,519 --> 00:32:51,440
else to some extent, but Alison Chains really kind of

466
00:32:51,519 --> 00:32:54,119
I mean I I and again I referenced it earlier.

467
00:32:54,200 --> 00:32:55,559
I think a lot of it has to do with

468
00:32:56,039 --> 00:32:59,960
you know, again Lane and Jerry and there and they're

469
00:33:00,079 --> 00:33:02,440
vocals together I think that's to me, that was kind

470
00:33:02,440 --> 00:33:05,359
of always a secret sauce. But but but there's other

471
00:33:05,440 --> 00:33:10,200
elements about them that are, you know, interesting. But I mean,

472
00:33:10,240 --> 00:33:12,279
what do you guys think, Because you're you're in a

473
00:33:12,319 --> 00:33:14,559
good position to speak on this since you're, you know,

474
00:33:14,680 --> 00:33:17,599
covering their songs. Obviously you're all passionate about Alison Chains,

475
00:33:17,640 --> 00:33:20,319
and you're and you're exploring how to play them. Right,

476
00:33:20,400 --> 00:33:22,599
You've learned how to play these songs. So, like I

477
00:33:22,960 --> 00:33:25,440
just and anybody wants to share their perspective, what is

478
00:33:25,480 --> 00:33:27,559
it about Alison Chains that makes them so incredible?

479
00:33:27,640 --> 00:33:29,559
Speaker 2: Yeah, I'll take a shot at that. I for me,

480
00:33:29,720 --> 00:33:30,160
it's uh.

481
00:33:32,039 --> 00:33:33,920
Speaker 10: When I actually when I saw you guys looking for

482
00:33:34,039 --> 00:33:36,519
somebody to play, I saw that immediately and I responded

483
00:33:36,559 --> 00:33:41,119
because this is, you know, the Dirt album came out,

484
00:33:41,240 --> 00:33:42,519
I think just as I was.

485
00:33:42,880 --> 00:33:44,200
Speaker 2: I think I might have been in the Marines at

486
00:33:44,240 --> 00:33:45,119
the time, but when I was.

487
00:33:45,119 --> 00:33:49,440
Speaker 10: Overseas day, we beat them, We beat the brakes off that. Yeah,

488
00:33:49,759 --> 00:33:52,920
at the time to the tape yet get but but

489
00:33:53,039 --> 00:33:54,640
I think it goes back. There was a lot of

490
00:33:54,720 --> 00:33:57,000
change in music at that time when their first album

491
00:33:57,079 --> 00:33:58,880
came out. I mean, because I'm still an eighties guy.

492
00:33:59,240 --> 00:34:01,920
I love eighties music, but I was, you know, still

493
00:34:01,960 --> 00:34:03,839
in high school when it started to switch over and

494
00:34:03,880 --> 00:34:07,359
to Vana, sound Garden, you know, pro jam, all these

495
00:34:07,400 --> 00:34:09,239
bands came out, and I think it was just a change,

496
00:34:09,280 --> 00:34:11,199
and I think there was a lot that people kind

497
00:34:11,239 --> 00:34:13,400
of reflect on that change out now that they're older

498
00:34:13,840 --> 00:34:15,719
and they look back on that and they have, you know.

499
00:34:15,800 --> 00:34:18,000
Speaker 2: Caond memories of what this music means to them.

500
00:34:18,039 --> 00:34:19,920
Speaker 10: So I think that's kind of the response.

501
00:34:19,599 --> 00:34:20,159
Speaker 9: To get as well.

502
00:34:20,440 --> 00:34:24,800
Speaker 5: Right right, yeah, anybody else, No, no, go ahead.

503
00:34:25,159 --> 00:34:28,000
Speaker 4: I was just gonna say I think I think obviously

504
00:34:28,320 --> 00:34:31,679
all all of them are talented, extremely talented musicians. Jerry

505
00:34:32,039 --> 00:34:36,599
Cantrell great, you know, composer of an orchestrator of that music.

506
00:34:37,320 --> 00:34:40,000
Helped too that their voices were very close, so not

507
00:34:40,119 --> 00:34:43,760
only in terms of inflection and tonally, so that that works.

508
00:34:44,119 --> 00:34:46,559
You know, sometimes you couldn't tell, you know, the difference

509
00:34:46,679 --> 00:34:50,199
when Jerry was singing, but Lane had a very haunting vocal.

510
00:34:50,320 --> 00:34:54,400
But I think the the length of them being together

511
00:34:54,480 --> 00:34:56,840
and managing to get to that level, because I'm sure

512
00:34:57,079 --> 00:34:59,320
if you've ever deep dive, you know Alice in Chains,

513
00:34:59,559 --> 00:35:01,360
you know where they started and where they ended up

514
00:35:01,760 --> 00:35:04,719
very different, so that you know, that graduation to that,

515
00:35:05,559 --> 00:35:08,840
but human emotion as sad as it is that Lane

516
00:35:08,960 --> 00:35:12,519
died and the struggle, I think, I think the audience,

517
00:35:13,159 --> 00:35:16,840
uh in just being human really, you know, honed in

518
00:35:16,960 --> 00:35:17,719
on the fact.

519
00:35:17,519 --> 00:35:20,639
Speaker 2: That you know this this guy is he really feels this.

520
00:35:21,400 --> 00:35:21,559
You know.

521
00:35:21,719 --> 00:35:25,079
Speaker 4: Of course, now looking back, I think, you know, possibly

522
00:35:25,159 --> 00:35:27,159
at this time, maybe he would have gotten more help

523
00:35:28,039 --> 00:35:29,679
than he did and we would have been able to

524
00:35:29,840 --> 00:35:31,199
enjoy him for much longer.

525
00:35:31,360 --> 00:35:33,320
Speaker 2: But you know, some stars burned the brightest.

526
00:35:33,559 --> 00:35:35,320
Speaker 10: I think that everybody relates to that too, right, I Mean,

527
00:35:35,360 --> 00:35:37,400
everybody's been down in a hole at some point in

528
00:35:37,440 --> 00:35:39,280
their life. So I think their lyrics and the way

529
00:35:39,320 --> 00:35:41,800
they come across, I mean, everybody can relate to some way.

530
00:35:42,400 --> 00:35:44,239
It's almost all of their songs. So I think that's

531
00:35:44,239 --> 00:35:46,320
another piece that really draws people to their music.

532
00:35:46,599 --> 00:35:46,800
Speaker 5: Yeah.

533
00:35:46,880 --> 00:35:51,519
Speaker 3: Absolutely, Yeah, I was just gonna say to what I

534
00:35:51,599 --> 00:35:53,519
think the two big they've been touched on the two

535
00:35:53,559 --> 00:35:57,920
biggest things are that you can't understate the the the

536
00:35:58,079 --> 00:36:02,079
magnificence of the armonies that those two singers created together.

537
00:36:02,239 --> 00:36:03,199
Speaker 2: It's really unique.

538
00:36:03,320 --> 00:36:05,480
Speaker 3: I don't you don't see it a lot in music, right,

539
00:36:06,039 --> 00:36:09,280
You really didn't see it in that genre specifically exactly

540
00:36:09,440 --> 00:36:11,400
like bon Jovi was doing it, but like you know,

541
00:36:11,480 --> 00:36:15,639
that's like happy pop, you know, right, right, But they

542
00:36:15,719 --> 00:36:20,159
brought it to that genre in a way that really

543
00:36:20,280 --> 00:36:24,519
did justice to the authenticity of the There was just

544
00:36:24,599 --> 00:36:27,119
such an authenticity to that. You didn't feel like they

545
00:36:27,159 --> 00:36:31,440
were trying to commercialize pain something. They they were really

546
00:36:31,480 --> 00:36:33,800
authentic and that's what resonates with people.

547
00:36:34,000 --> 00:36:38,239
Speaker 6: Yeah, And I think the for me it's I've never

548
00:36:38,320 --> 00:36:43,800
been a huge lyric guy, so the authenticity in the

549
00:36:44,960 --> 00:36:47,840
lane to what Chris said, is one uncent on for me.

550
00:36:48,000 --> 00:36:51,280
It's the sonics of it all and a lot of

551
00:36:51,360 --> 00:36:53,760
how people recorded during that During that time, we got

552
00:36:53,800 --> 00:36:57,360
a lot of great music. You know that that Rage album,

553
00:36:57,440 --> 00:37:01,079
all those those early nineties albums have their own sound. Yeah,

554
00:37:01,159 --> 00:37:05,280
and Jerry was you know that just the feelings of

555
00:37:05,400 --> 00:37:10,119
that music message aside, just grabs me. You know, that's

556
00:37:10,239 --> 00:37:13,599
the snare sounds or the guitar sounds. What effects are

557
00:37:13,639 --> 00:37:15,639
going on there? How are they getting all these layers right?

558
00:37:16,079 --> 00:37:18,840
So that people don't really realize that, but it affects them.

559
00:37:18,920 --> 00:37:21,039
It's like there's something that sounds really cooler. I don't

560
00:37:21,039 --> 00:37:23,599
know what it is, but it's right. It pulls you in, right,

561
00:37:23,800 --> 00:37:26,199
So it's I think it's all that. You know, they

562
00:37:26,280 --> 00:37:28,280
were package that pretty well.

563
00:37:28,480 --> 00:37:30,039
Speaker 5: Yeah, yeah, absolutely.

564
00:37:30,199 --> 00:37:32,360
Speaker 2: Good old raw rock and roll too. I mean they were.

565
00:37:34,079 --> 00:37:38,000
Speaker 4: They were great musicians, but you watch not a butt

566
00:37:38,159 --> 00:37:41,480
more of a you know, it wasn't so overly polished.

567
00:37:41,519 --> 00:37:43,880
They adapted, you know, you can you can see during

568
00:37:44,039 --> 00:37:46,400
that that you know, it had been a long time

569
00:37:46,760 --> 00:37:50,559
since they had played you know, those songs and played

570
00:37:50,679 --> 00:37:52,519
with Lane. I'm sure there was some rehearsals, but they

571
00:37:52,519 --> 00:37:54,239
even there's even a comment by Lane, you know, this

572
00:37:54,360 --> 00:37:57,920
is the best show we've had in three years, and

573
00:37:58,119 --> 00:38:02,400
somebody shouts out, yeah, it's the only show because he disappeared.

574
00:38:02,400 --> 00:38:04,960
I mean we talk about all the time. Their their window,

575
00:38:05,199 --> 00:38:09,199
like a lot of other great bands, was very short. Yeah,

576
00:38:09,519 --> 00:38:12,039
at the time, from when they hit to when it

577
00:38:12,320 --> 00:38:16,079
was over and we lost Lane was a very short time.

578
00:38:17,199 --> 00:38:20,760
But to watch them play that and be those musicians.

579
00:38:20,880 --> 00:38:23,480
But you know, with all the nuances and the warts

580
00:38:23,519 --> 00:38:26,239
and everything that goes with it, we're really dissecting it.

581
00:38:26,360 --> 00:38:28,639
Like now we're in the ten percent of like you know,

582
00:38:28,800 --> 00:38:31,960
that's that's not the recording, but what they did here

583
00:38:32,039 --> 00:38:35,440
actually ended up cool. Yeah, because they adapt to uh

584
00:38:35,760 --> 00:38:37,920
to it. And I like the the you know, I

585
00:38:37,960 --> 00:38:40,239
want them to be good musicians, but I like the

586
00:38:40,400 --> 00:38:42,440
unpolished raw rock and roll. I feel a lot of

587
00:38:42,480 --> 00:38:47,119
stuff today is just so perfectly orchestrated, and whether they're

588
00:38:47,119 --> 00:38:50,679
playing with backing tracks or you know, they've got the

589
00:38:50,800 --> 00:38:57,280
most professional you know, equipment and yeah, recording software stuff

590
00:38:57,320 --> 00:38:59,519
that they do live. I just like the good old,

591
00:38:59,599 --> 00:39:01,519
you know, raw rock and roll, and yeah, if we

592
00:39:01,679 --> 00:39:03,760
mess it up, we're not gonna We're just gonna keep

593
00:39:03,760 --> 00:39:04,719
going through.

594
00:39:04,719 --> 00:39:05,920
Speaker 5: It's not supposed to be perfect.

595
00:39:06,039 --> 00:39:07,639
Speaker 2: Yes, you know a lot of people are critical.

596
00:39:07,679 --> 00:39:10,599
Speaker 4: They want it to be like album quality, and it's like, yeah,

597
00:39:10,639 --> 00:39:13,519
but this is real and certainly we're not Alice in Chains,

598
00:39:13,599 --> 00:39:16,440
so we're adapting to what you know, parts we can

599
00:39:16,760 --> 00:39:17,159
we can do.

600
00:39:17,639 --> 00:39:19,760
Speaker 6: Yeah, yeah, we've got a little bit of that. But

601
00:39:20,519 --> 00:39:23,400
we talk about all the time as just being artists,

602
00:39:23,599 --> 00:39:25,480
you're going to get some critiques. So it's you're not

603
00:39:25,559 --> 00:39:28,079
doing Laye any justice, and like we're not. We're not

604
00:39:28,159 --> 00:39:32,679
trying to replicate Lane, right right, We're playing the songs

605
00:39:32,719 --> 00:39:35,320
and just be just a channel in this area for

606
00:39:35,400 --> 00:39:35,960
people to hear it.

607
00:39:36,360 --> 00:39:39,519
Speaker 2: It's a tribute. Yeah, it's not merely a tribute.

608
00:39:39,760 --> 00:39:42,760
Speaker 6: Yeah yeah, if that I mean, it's just it's just

609
00:39:43,800 --> 00:39:47,159
just sharing the music, just enjoying the music and playing

610
00:39:47,280 --> 00:39:49,480
with other people. You can call it tribute, I guess,

611
00:39:49,559 --> 00:39:52,079
but it's really just here songs that we like. We

612
00:39:52,159 --> 00:39:54,559
hope you like them too, and we're just trying to Yeah,

613
00:39:55,039 --> 00:39:58,440
we hope. We'll try to convey that that message because

614
00:39:58,760 --> 00:40:00,960
Jerry and Lane are here together. If Jerry wants to

615
00:40:00,960 --> 00:40:01,960
come in, great.

616
00:40:04,159 --> 00:40:05,360
Speaker 12: We love listening to the show.

617
00:40:06,039 --> 00:40:08,760
Speaker 2: We love to we love to be loud and play metal.

618
00:40:08,800 --> 00:40:12,480
Speaker 4: We're all metal guys, uh, with deep roots and you know,

619
00:40:13,760 --> 00:40:16,480
thrash metal and hard rock stuff from the eighties and

620
00:40:16,519 --> 00:40:19,840
the nineties. But I have to say that, yes, this

621
00:40:20,159 --> 00:40:22,119
not only for the reaction that we got, but for

622
00:40:22,280 --> 00:40:24,320
us it is it is a change from the norm.

623
00:40:25,639 --> 00:40:27,320
Speaker 2: It is not easy.

624
00:40:27,360 --> 00:40:30,039
Speaker 4: I'm not saying it's easy, but vocally like, it's much

625
00:40:30,119 --> 00:40:32,639
different than everything else that I do with either other trips,

626
00:40:32,679 --> 00:40:34,039
its original bands or covers.

627
00:40:34,119 --> 00:40:35,239
Speaker 2: So it's uh.

628
00:40:35,559 --> 00:40:38,199
Speaker 4: And to put it together collectively in package it that way,

629
00:40:38,280 --> 00:40:40,199
I think that's you know, if we did a song

630
00:40:40,320 --> 00:40:42,320
or two in like a cover set. We just you know,

631
00:40:42,440 --> 00:40:46,320
be another cover band and noise of all cover bands.

632
00:40:46,360 --> 00:40:48,519
So it just has more of a thing. And there

633
00:40:48,559 --> 00:40:50,880
are other great Alison chains.

634
00:40:51,559 --> 00:40:57,199
Speaker 17: Somebody somebody ring the door bell, murder them, somebody, somebody's

635
00:40:57,280 --> 00:41:02,199
somebody wants a bus ticke up, it's pizza, but Jenny's

636
00:41:02,239 --> 00:41:02,679
on the case.

637
00:41:03,159 --> 00:41:06,079
Speaker 4: Yeah, it's just it's enjoyable to do and package it

638
00:41:06,159 --> 00:41:08,239
that way and have people be like, yeah, I can

639
00:41:09,679 --> 00:41:12,800
each mentioned it earlier. I can go there, maybe get

640
00:41:12,840 --> 00:41:15,000
some food, have a drink, and I can still talk

641
00:41:15,119 --> 00:41:17,559
to people and here because the decibels of this are

642
00:41:17,679 --> 00:41:18,760
are far less.

643
00:41:19,119 --> 00:41:21,400
Speaker 2: Yeah, you know, even even with you know.

644
00:41:21,519 --> 00:41:26,760
Speaker 4: Electrified acoustic and amplification, it just has less impact than

645
00:41:26,840 --> 00:41:29,320
going to see you know, your your favorite you know,

646
00:41:29,679 --> 00:41:32,800
very loud rock band and right you know, you're you're

647
00:41:32,840 --> 00:41:34,960
with you're just screaming at each other and your horse

648
00:41:35,039 --> 00:41:35,800
by the end of the night.

649
00:41:35,960 --> 00:41:38,119
Speaker 6: So yeah, and the idea of it is just to

650
00:41:38,239 --> 00:41:40,280
create a little bit more of an experience with the

651
00:41:40,559 --> 00:41:43,480
you know, we have like the candles and the just

652
00:41:43,599 --> 00:41:45,239
bring the mood down a little bit so people can

653
00:41:45,360 --> 00:41:48,159
kind of dive into it. So it's you know, we're

654
00:41:48,199 --> 00:41:50,719
not just a band in the corner, you know, it's

655
00:41:50,920 --> 00:41:55,280
people just can dive into it. Like I said, just

656
00:41:55,679 --> 00:41:57,360
I like the song, and you can hear people kind

657
00:41:57,360 --> 00:42:00,079
of talking I love this and they start singing. That

658
00:42:00,199 --> 00:42:04,199
kind of interaction is new for me because, like Chris

659
00:42:04,280 --> 00:42:06,039
is saying, you know, if you're playing with amps, you

660
00:42:06,079 --> 00:42:07,320
don't hear anybody.

661
00:42:07,199 --> 00:42:08,400
Speaker 5: Right, right, that's true.

662
00:42:08,559 --> 00:42:11,280
Speaker 6: Yeah, Like you're like, well you really like that, you

663
00:42:11,360 --> 00:42:13,519
try harder and it's like I like it too, Yeah,

664
00:42:13,639 --> 00:42:16,960
and then you have that connection. Yeah, yeah, it's pretty close. Yeah,

665
00:42:17,039 --> 00:42:19,159
it sounds like because there's people, I mean when we're

666
00:42:19,360 --> 00:42:21,199
at Riley's. I mean there's a couple, there's a whole

667
00:42:21,239 --> 00:42:24,920
group you know, this far away, and like that's that's

668
00:42:24,920 --> 00:42:26,960
a lot of pressure. Yeah, in a sense because like

669
00:42:27,199 --> 00:42:29,159
can you can see people kind of either get water

670
00:42:29,280 --> 00:42:32,920
eyed or whatever. They're like, this is my song and like, yeah,

671
00:42:32,960 --> 00:42:34,960
you know it's so it's weird, like it's not my song.

672
00:42:35,360 --> 00:42:38,239
We're just you know, channeling it. But it's cool that

673
00:42:38,280 --> 00:42:39,480
they're getting that emotion from it.

674
00:42:39,639 --> 00:42:39,840
Speaker 5: Yeah.

675
00:42:39,920 --> 00:42:42,280
Speaker 3: I was also surprised that I forgot to mention this

676
00:42:42,360 --> 00:42:44,159
the amount of women that were at that show and

677
00:42:44,400 --> 00:42:46,800
kids there are a lot of like younger kids, like

678
00:42:46,920 --> 00:42:51,760
teenage kids, Like my niece is like fourteen and she uh,

679
00:42:52,400 --> 00:42:53,519
she's in Dallas and Chain.

680
00:42:53,639 --> 00:42:56,119
Speaker 2: So like, yeah, to the extent that we can bring

681
00:42:59,639 --> 00:43:01,199
I think so. I think so.

682
00:43:01,440 --> 00:43:04,199
Speaker 3: I mean to the extent that any like younger kid

683
00:43:04,559 --> 00:43:07,000
enjoys this music. Yeah, and if there's anyone in this

684
00:43:07,159 --> 00:43:09,440
area that likes this kind of music and they're younger

685
00:43:09,519 --> 00:43:13,079
and they can hopefully we can do they can come

686
00:43:13,159 --> 00:43:14,880
to a show and we can kind of do justice

687
00:43:14,960 --> 00:43:17,079
to like the vibe that they missed out on not

688
00:43:17,199 --> 00:43:17,679
being alive.

689
00:43:17,760 --> 00:43:20,480
Speaker 6: Yeah, we see that a lot, and people have reached out.

690
00:43:20,559 --> 00:43:23,119
Is this eighteen plus or a twenty one plus? Can

691
00:43:23,280 --> 00:43:24,920
you know? They want to make sure because like my

692
00:43:25,519 --> 00:43:29,480
daughter or my whatever child, it's hugely into it. So

693
00:43:29,559 --> 00:43:33,079
it's kind of like it's kind of interesting. It's like,

694
00:43:33,199 --> 00:43:34,840
you know, people our age, I guess their kids are

695
00:43:35,119 --> 00:43:35,679
more into it.

696
00:43:36,159 --> 00:43:36,360
Speaker 5: Yeah.

697
00:43:36,760 --> 00:43:39,840
Speaker 2: Yeah, we spawned, we all spawned kids that would listen

698
00:43:39,880 --> 00:43:40,039
to it.

699
00:43:40,159 --> 00:43:42,480
Speaker 6: But yeah, but it's kind of the same idea because

700
00:43:42,480 --> 00:43:44,960
I think it's for me. I kind of skipped the

701
00:43:45,079 --> 00:43:48,039
eighties in my had older brothers who listened to a

702
00:43:48,079 --> 00:43:50,400
lot of seventies stuff, but the nineties stuff was a

703
00:43:50,440 --> 00:43:53,719
product of a lot of seventies music. You know, your

704
00:43:53,800 --> 00:43:57,760
Sables and Zeppelin and yeah, all the all the kind

705
00:43:57,800 --> 00:44:00,960
of the harder rock stuff where the eighties was polished

706
00:44:01,000 --> 00:44:05,159
and they had that eighties machine to it. Yeah, I

707
00:44:05,199 --> 00:44:06,840
mean you had your metal, but you didn't have like

708
00:44:06,920 --> 00:44:10,880
the rock. Like the nineties grunge stuff was a descending

709
00:44:10,960 --> 00:44:13,159
of the night you know, late sixties and seventies.

710
00:44:13,519 --> 00:44:16,559
Speaker 1: Yeah, and and probably to kind of a reaction to

711
00:44:16,840 --> 00:44:21,000
to the eighties sene you know, right, Oh for sure, Yeah, yeah,

712
00:44:21,320 --> 00:44:24,360
kind of a kind of a pushback on that and

713
00:44:24,440 --> 00:44:25,480
a and a welcome one.

714
00:44:25,559 --> 00:44:30,320
Speaker 5: And in a lot of ways, I would say, Chris,

715
00:44:30,400 --> 00:44:32,159
you've been quiet. Did you have anything you want to do?

716
00:44:32,280 --> 00:44:32,400
Speaker 9: Uh?

717
00:44:32,719 --> 00:44:33,800
Speaker 7: No, I'm just a bass player.

718
00:44:33,880 --> 00:44:34,000
Speaker 9: Man.

719
00:44:35,079 --> 00:44:35,840
Speaker 2: It's a bass player.

720
00:44:35,880 --> 00:44:37,559
Speaker 1: Hey man, I'm a bass player too, So you know,

721
00:44:37,639 --> 00:44:39,360
we gotta we gotta look out for each other. That's

722
00:44:39,400 --> 00:44:40,239
why I want to make sure if you.

723
00:44:40,239 --> 00:44:42,159
Speaker 12: Had anything he got in there, I will.

724
00:44:42,280 --> 00:44:45,199
Speaker 6: I'll say that the base is amazing on on a

725
00:44:45,239 --> 00:44:47,800
lot of the oul chain stuff, and yeah, he's nailing

726
00:44:47,880 --> 00:44:51,119
it with Oh I noticed on the not only the tones,

727
00:44:52,000 --> 00:44:54,079
but just just the parts in general, because it's such

728
00:44:54,079 --> 00:44:54,920
a huge part of it.

729
00:44:55,159 --> 00:44:57,679
Speaker 5: Yeah, Mike is an amazing bass player.

730
00:44:57,920 --> 00:44:59,840
Speaker 2: That's one of the reasons I've always loved them.

731
00:44:59,880 --> 00:45:03,519
Speaker 5: And anyways, it's just oh yeah, awesome. Oh absolutely, absolutely,

732
00:45:03,519 --> 00:45:05,079
one hundred percent. He's one of my favorites.

733
00:45:06,119 --> 00:45:06,440
Speaker 12: I think.

734
00:45:06,599 --> 00:45:09,480
Speaker 1: So in a moment, if you guys want to do

735
00:45:09,599 --> 00:45:11,559
one more, we can. We can end the segment with

736
00:45:11,639 --> 00:45:14,480
one more. We definitely have time. But I also want

737
00:45:14,519 --> 00:45:18,000
to make sure that uh, two things. One that people

738
00:45:18,079 --> 00:45:20,480
know where to find you guys online and also what

739
00:45:20,599 --> 00:45:23,440
you've got coming up if you want to remind people too,

740
00:45:23,440 --> 00:45:25,039
because you got to you got a bunch of shows

741
00:45:25,079 --> 00:45:25,519
coming up.

742
00:45:25,679 --> 00:45:25,880
Speaker 2: We do.

743
00:45:26,199 --> 00:45:30,239
Speaker 6: So it's online jarflies dot com, which is amazing that

744
00:45:30,320 --> 00:45:31,039
we were able to get that.

745
00:45:31,519 --> 00:45:35,719
Speaker 5: Yeah, I'm actually surprised. That's really Oh that's great.

746
00:45:35,760 --> 00:45:38,239
Speaker 6: It's great. So that's that's the home spot. You can

747
00:45:38,280 --> 00:45:43,679
find all the gigs there and I'll see on the socials, Facebook, Instagram, TikTok,

748
00:45:43,920 --> 00:45:50,679
YouTube at jariflies or jariflies n H so you people

749
00:45:50,719 --> 00:45:52,920
can find it. But jariflies dot com you'll have all

750
00:45:52,960 --> 00:45:56,400
the links. Excellent to find us on the socials sign

751
00:45:56,480 --> 00:45:58,920
up for the email list so you can be notified.

752
00:45:58,960 --> 00:46:02,280
We have some shirts as well merch at the shows,

753
00:46:02,880 --> 00:46:06,000
which is kind of fun. And then so our next

754
00:46:06,119 --> 00:46:10,519
one is eight at Button Factory, but that's sold out already.

755
00:46:10,800 --> 00:46:13,719
Speaker 4: Yes, if you don't already have a ticket, we'd love

756
00:46:13,760 --> 00:46:15,559
to see you, but please don't show up there and

757
00:46:15,599 --> 00:46:18,199
then be upset because we don't we we don't want

758
00:46:18,280 --> 00:46:20,960
to have you drive really far to find out you

759
00:46:21,000 --> 00:46:24,440
can't get in. So look at our next But our

760
00:46:24,519 --> 00:46:27,840
next gigs on March seventh, Olt Bridle Borrow and then

761
00:46:28,840 --> 00:46:31,000
four eighteen in Rochester.

762
00:46:31,119 --> 00:46:32,000
Speaker 2: Those are bigger venues.

763
00:46:32,280 --> 00:46:35,800
Speaker 6: Come back to Rochester at the East Side Tavern. It's

764
00:46:35,800 --> 00:46:39,119
a good size. Yeah, so that's not ticketed, okay, but

765
00:46:39,199 --> 00:46:41,559
we do ask everybody just say that you're interested on

766
00:46:41,599 --> 00:46:44,360
at least on the Facebook event page if possible, so

767
00:46:44,480 --> 00:46:46,800
that we can kind of gauge if we do get

768
00:46:46,800 --> 00:46:50,440
to a capacity limit. We've been asked by the venues

769
00:46:51,599 --> 00:46:54,280
just so they can have a kind of account. They

770
00:46:54,480 --> 00:46:57,760
do tickets, but they're not but we don't want people.

771
00:46:57,840 --> 00:47:01,280
If you're if you signed up, click interested and then

772
00:47:01,360 --> 00:47:03,280
you can say hey, at least they they're here. We

773
00:47:03,320 --> 00:47:04,840
can try to get you in but I think it's

774
00:47:04,880 --> 00:47:08,119
big enough. We'll probably if we if it gets packed there,

775
00:47:08,159 --> 00:47:10,159
they'll be crazy.

776
00:47:10,400 --> 00:47:10,599
Speaker 5: Yeah.

777
00:47:10,800 --> 00:47:13,920
Speaker 1: Yeah again, you guys are off to such a great start.

778
00:47:14,000 --> 00:47:17,000
That's that is wonderful. So very very happy for you.

779
00:47:17,239 --> 00:47:20,079
Glad you're here. Uh, you sound amazing. So this has

780
00:47:20,119 --> 00:47:23,079
been incredible. But yeah, so we'll end the Uh, we'll

781
00:47:23,159 --> 00:47:25,519
end the segment with one more song if if you

782
00:47:25,599 --> 00:47:27,159
guys want to play, you want to play one more?

783
00:47:27,199 --> 00:47:27,800
Speaker 6: What is the bonus?

784
00:47:27,840 --> 00:47:27,960
Speaker 9: One?

785
00:47:28,000 --> 00:47:28,440
Speaker 2: Got me wrong?

786
00:47:28,519 --> 00:47:28,920
Speaker 5: Come me wrong?

787
00:47:30,079 --> 00:47:31,000
Speaker 2: Thanks for having us man?

788
00:47:31,039 --> 00:47:33,320
Speaker 5: Oh, absolutely absolutely, and we will thank you. We'll do

789
00:47:33,360 --> 00:47:35,079
it again in the future for sure. This is great.

790
00:47:35,440 --> 00:47:35,559
Speaker 2: Uh.

791
00:47:35,599 --> 00:47:37,800
Speaker 1: And again if you are just joining us, Jarra Flies

792
00:47:37,880 --> 00:47:39,719
is here with us live in studio.

793
00:47:42,159 --> 00:47:44,519
Speaker 9: H m m.

794
00:47:57,480 --> 00:48:04,840
Speaker 12: Yeah goes. We all love this more.

795
00:48:05,280 --> 00:48:06,639
Speaker 15: Nothing in my.

796
00:48:06,920 --> 00:48:09,159
Speaker 5: Life, no.

797
00:48:11,880 --> 00:48:19,159
Speaker 12: Call it lay in up but you well let see nothing.

798
00:48:21,400 --> 00:48:22,079
Speaker 9: I know.

799
00:48:23,559 --> 00:48:26,320
Speaker 12: Bit you got me wroung.

800
00:48:31,960 --> 00:48:37,760
Speaker 8: So should we run from something strong?

801
00:48:49,039 --> 00:48:52,519
Speaker 12: I can't let go?

802
00:48:54,559 --> 00:48:58,400
Speaker 8: Thread bad, tap free, unwinding stove.

803
00:49:00,199 --> 00:49:06,079
Speaker 12: You don't you bring show?

804
00:49:06,559 --> 00:49:07,440
Speaker 2: You all been?

805
00:49:07,800 --> 00:49:09,440
Speaker 12: Let me want me to.

806
00:49:12,920 --> 00:49:17,079
Speaker 5: No where pitch you get me round?

807
00:49:22,679 --> 00:49:28,639
Speaker 15: So shall we read or something show?

808
00:49:32,960 --> 00:49:45,719
Speaker 8: I've there lost so long? Row in a sat Tube

809
00:49:45,800 --> 00:49:47,199
babcom JOm.

810
00:49:50,199 --> 00:49:53,159
Speaker 15: That don't last forever.

811
00:49:56,960 --> 00:49:58,760
Speaker 12: So let's go to churn out RAI.

812
00:50:31,480 --> 00:50:40,800
Speaker 8: You sugar teas, sweet nest, does nothing touch my face?

813
00:50:42,400 --> 00:50:50,679
Speaker 12: Stay if you please. You may now be here when

814
00:50:51,039 --> 00:50:51,639
not leave?

815
00:50:54,880 --> 00:50:58,880
Speaker 15: No, bet you got me wrong.

816
00:51:04,360 --> 00:51:16,840
Speaker 8: So shall we read for something song? I haven't been artist,

817
00:51:17,039 --> 00:51:28,039
and so long row in a sense to bagn from

818
00:51:28,480 --> 00:51:43,119
love row, I haven't been baptist, and so long don't

819
00:51:43,480 --> 00:51:44,960
bad forever.

820
00:51:48,679 --> 00:51:50,400
Speaker 12: So let's got to turn out right

821
00:52:00,039 --> 00:52:00,360
Speaker 17: Okay,