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Speaker 1: W m an Angel.

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Speaker 2: Rips the normal.

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Speaker 3: Hey everybody welcome. We have an or We are entering

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about to cross over an hour number three New Marrow

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trace of Matt Connorton Unleashed and we are live from

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the studios of w m n H ninety five point

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three FM, Inglorious a Manchester in New Hampshire. Of course,

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you can stream the show from anywhere. Go to Matt

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connorton dot com slash live for all of your live

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streaming options, social media links, contact info, sharchives, et cetera,

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et cetera. Today is Saturday, December twenty seven, twenty twenty five.

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In just a couple of minutes, Lee Wilding from the

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Far North is going to be joining us via WhatsApp.

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We're gonna go ahead and spin this single. This is

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one of the great tracks that he has released and

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I cannot wait to talk to him. But this is

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really good. This is called Mountain Song and this is

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the Far North.

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Speaker 2: The way things change.

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Speaker 4: I don't think you can guess your next to move,

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Miss you bird, your restrain on me.

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Speaker 2: It's there so much to prove.

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Speaker 5: You say that you'll change, So I'll leave your.

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Speaker 6: Key by the door.

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Speaker 2: Soon after that it all fits.

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Speaker 5: To black, and I'm not so in loving more.

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Speaker 2: All the gaps in my heart don't belong.

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Speaker 6: Bad love?

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Speaker 2: Can we go back and again? Can we go back

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and again?

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Speaker 4: Every time I pen my feet, a rock post.

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Speaker 2: Fly underneath, I get.

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Speaker 6: Back off for another round.

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Speaker 2: To climb this mountain.

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Speaker 4: You farm, you say that you change so when I

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leave your key out.

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Speaker 6: Of the time.

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Speaker 4: Soon after that it all fads the black, and I'm

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not so in loving about.

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Speaker 7: Cold.

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Speaker 4: The caps in my heart don't belong. Can't we go

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back and again? Can't we go back and again?

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Speaker 5: Oh?

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Speaker 3: What a great track that is Mountain song from the

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Far North, And we have the man behind the Far North,

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Lee Wilding, on the line with us via WhatsApp.

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Speaker 1: Hello Lee, Hello, that you all right?

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Speaker 3: Yeah, welcome to the show. It's I love that so much.

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We've we played that recently, and we played another one

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of your songs too, and that's that's just really really good.

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I love that song. I love the vocals and everything

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about it is just perfect.

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Speaker 1: Oh that's really kind of me.

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Speaker 3: Thank you so much, Absolutely absolutely so. I'm really curious

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to know so you you spent fifteen years as the

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lead guitarist and vocalist in the Fireflies.

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Speaker 1: Correct, that is correct.

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Speaker 3: Yeah, so that's a long time. So what what drove

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you to, you know, to kind of start fresh, because

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that's you know, obviously you put a lot of equity

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into that project and then you started you started The

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Far North in what was it twenty.

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Speaker 1: Twenty, Yeah, around twenty twenty.

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Speaker 4: Yeah.

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Speaker 7: It's funny you though, because I hadn't considered it really

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so being you know, in the Fireflies. We did like

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seven albums, and we did loads of tours, and we

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did show a lot of supports, lots and a lot

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of headline shows and it was a pretty full time

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kind of gig. And towards the end of it, we

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did one last tour with Radio one's Coffee House Sessions

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in I think it was the summer of twenty nineteen,

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and there were six of us in the band, and

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I just thought, I don't want to do this anymore.

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Speaker 1: I just want to, you know, be acoustic.

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Speaker 7: I'm a huge fan of like City and Color and

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Neil Young and Uncle Chupelo and all those bands, and

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I thought, you know, I want to do some acoustic stuff.

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And it wasn't until halfway through recording the first album

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songs and Gentle Souls. We had someone come in and

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do backing vocals for us, a wonderful friend of mine

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called Susie Potts, and she said, why have you like

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kind of discredited the Fireflies after fifteen years You're starting

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a fresh like, you know, you might not take any

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fans over with you. And it had never occurred to

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me until that moment. She said, I thought it will

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be fine. All the Fireflies fans will still know it's me,

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you know, and of course they didn't and it's not.

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Speaker 1: It was very, very much the long way around.

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Speaker 7: And it had never occurred to me for like six months,

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and it was like February and February twenty one. I

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think it might have been on twenty twenty, okay, and

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she was like she just was like, this might not transfer,

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and yeah, she was right, but you know, I've worked

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it up against it all good.

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Speaker 3: So I'm curious too, because so the Far North obviously

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you know, it sounds like the name of a band,

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but it's really your solo project, right.

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Speaker 1: Yeah, pretty much.

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Speaker 7: Yeah, I got you know, I rope in friends to

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help me out, and you know, very talented musicians from

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like the local area. And stuff to play, you know,

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piano and percussion and fiddle and guitar. On my new album,

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a lot of it's me, a lot of the guitar

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and the bass, and you know the how monica and

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a lot of it it is me. You know, obviously

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vocals backing vocals, but sometimes you just need a better help,

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you know.

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Speaker 3: I guess I'm curious too, because you know, your friends

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said to you, you know, and again I refer to

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it as the equity that you had in the Firefly Yeah,

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had it occurred to you at any point to just

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because I think you probably would have had. I mean,

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it doesn't matter now because you're obviously having a lot

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of success with this, so it all works out. But yeah,

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if you had just used your name instead of calling

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it the Far North, you might have had a better

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shot at pulling those people over because obviously people who

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are big fans of the Far North, they probably knew

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your name. So I mean, I'm sorry, big fans of

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the Fireflies rather, they probably knew your name, sous.

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Speaker 1: Think of that?

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Speaker 7: Yeah, but think of that with me being such a

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Neil Young Springsteen and City and Color fan and no

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Gallagher fan, I just thought that like, obviously, those those

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bands all had you know, it was someone and someone,

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So I didn't want it to be Lee Wilding in

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the Far North. But obviously with me being city in Color,

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it's like his name is Dallas Green obviously, so city

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and color. So I just thought, what kind of evokes like,

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you know, a log cabin with a fire burning with

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acoustic tunes in the middle of nowhere. And I thought,

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you know, the Far North is a great, a great

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you know a band title.

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Speaker 1: But yeah, I mean, looking back at it now.

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Speaker 7: Maybe I should have done to me recently though, you know,

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like new fans of the bands that I picked fans

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up all around the UK and all around the world,

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and a lot of people say, why don't you just

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say Lee Wilder Man, because like people knew who you

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were in the Fireflies.

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Speaker 1: It's like, oh my goodness. So yeah, you know, that's

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not the first time I've actually heard that.

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Speaker 3: Well, but it did work out, you know, I mean,

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your your instinct, ultimately, I think has proven correct and

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you're having success with this. So and this is the

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third album correct Songs for Storms.

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Speaker 1: Yeah, that's right, third album.

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Speaker 7: Yeah, we did song for Healing Hearts about two years ago,

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and then Songs for Gentle Souls just in the peak

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of COVID. You know, we never obviously no one saw

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that coming. And if you had the time again, maybe

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we would have waited till it was kind of over

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a bit, but you know, it is what it is,

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and it did what it did, and I'm pretty happy

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with it all.

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Speaker 1: Really.

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Speaker 3: Yeah, yeah, Now, how is your approach different? So I

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will confess I've not gone back and listened to the Fireflies,

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although I will now because I'm very curious. I mean,

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is your approach in terms of songwriting? Is it different

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when it's just you or maybe you were the chief

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songwriter in the Fireflies? I don't know.

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Speaker 1: Yeah, I was the only person that only ever wrote

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the song.

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Speaker 7: So for me writing the songs in the Fireflies, they all,

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I mean, some of the songs I've taken up, you know,

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I've taken with me and just kind of like rehas them,

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put a bit of you know, a new look a

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paint on them. But really my songwriting is so effortless.

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I don't know what it is, but they all just

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appear almost fully formed out of the sky. I put

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the guitar up and just I'll play G and I've

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played a million g's, but one time it's like different,

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and then the G to the E is like, oh

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my god, I've never played this before this way, and

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then you know, the vocals just come out. I'm writing

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stuff for the new album now, for the next album,

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and it's just all comeing to me really really quickly.

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So I'm not sure whenever it will dry up, but

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I'm quite lucky at the moment because a lot of

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people ask how, you know, how do you write songs,

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or you know, can I maybe coach some of my

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friends to write songs or whatever? And it's like, the

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truth is, I don't really know what I'm doing. I

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just write them and they and they happen.

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Speaker 1: You know. That's kind of where I'm at with it,

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really a bit of a hack.

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Speaker 3: But has it always been like that, Like, was it

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like that throughout your tenure in the Fireflies or is

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this something that's come out more as you've done this

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on your own and have it, you know, having the freedom,

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the liberation to be able to do it on your own.

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Speaker 1: Yeah.

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Speaker 7: No, it was always like that, really, So whenever I

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wrote stuff for the Fireflies, I'd write it on acoustic

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guitar and take it into band practice and people would

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just kind of start playing their own thing. So I mean,

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obviously with this though, the songs, I don't deviate from

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the structure much because it's me. It's written it, and

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it's me it's going to play it. But with the

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Fireflies it was a bit more of a democracy really.

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Speaker 1: Yea.

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Speaker 7: But but the you know, the bare bones and the verse,

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chorus versa all be the same, and a lot of more,

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you know, lots more people will kind of getting on

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it really, but now it's way more streamlined.

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Speaker 3: Okay, okay, good, good. Now did any of the material

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from the Fireflies make it into the new project?

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Speaker 1: Yeah?

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Speaker 3: You still play some of those.

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Speaker 7: Yeah, yes, so on the first track, I think the

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first album Sorry that like this House is Ours and

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I think Grace and My Heart and When we Were Young.

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The second album, I think Unplayed Guitar and Hollow and

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this album, yeah, if you haven't made it, there was Hummingbird,

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there was Sailor in the Sea, all the things you did.

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So yeah, there was maybe maybe two or three off

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each album was a Firefly song that was like a

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complete rock out really, you know, they were just pure

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rock songs or you know, kind of big maybe psych songs,

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you know psych, you know, So with this stuff, I

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just wanted it to be like, just give those older

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songs a new liquor paint. But I'm writing the new

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album at the moment. I don't know when it could

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be out. It could be a year, could be two years.

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But I'm rescuing maybe three more firefly songs. Wow, that's it? Then, yeah,

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I think that'll be the Firefly songs done. Then I

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think the bag is empty at last.

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Speaker 3: Did you was that when you started this project? Was

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that your intention from the beginning, because you know a

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lot of people they you know, if they have a project,

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you know, they're in a band, and then maybe they

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do their own thing. They don't want to necessarily, you know,

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some artists they like to have like a clear delineation

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and they just want to not look back at older material.

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And some artists do, but a lot of artists don't.

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And and to me, it's always been kind of like, wow,

239
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how do you just how do you just leave all

240
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that behind? If you had some great songs in your

241
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previous project, how do you just leave that behind? You know?

242
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But but some artists will do that. Was that a

243
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hard decision for you, whether or not to revisit those songs?

244
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Speaker 1: It was not really.

245
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Speaker 7: I kind of like thought about it for a little bit,

246
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and I thought, is this going to be completely new?

247
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Because we had Nigel Stonia produced the first album, and

248
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we were like, you know, I don't know, I don't

249
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really know what approach and the heat. So I sent

250
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him a load of songs and he was like, some

251
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of the Firefly songs were greatly like we should definitely

252
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redo these. And I had a bit of reticence at first.

253
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It was a bit quite about it. I thought, I'm

254
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not sure, and then I thought, well, I wrote them,

255
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so you know, why not. So as long as they're

256
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acoustic and as long as they've got a lot of

257
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heart and soul, I kind of have no problem with it.

258
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And some of them are pretty much verbatim. You know

259
00:14:01,000 --> 00:14:03,159
that humming Birds pretty much the same. We just put

260
00:14:03,159 --> 00:14:06,200
a fiddle on it, and we've kind of really restructured

261
00:14:06,279 --> 00:14:08,240
like the Sailor in the Sea and all the things.

262
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You did, you know, they were completely different songs in

263
00:14:10,440 --> 00:14:12,559
the Fireflies. Yeah, but I just thought, you know, I

264
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wrote them, and I never really have writer's block. You know,

265
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I'm always writing, you know, as Bob Dylan said, you know,

266
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write ten songs a day and throw nine away.

267
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Speaker 1: So I'm always you know, I'm always writing.

268
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Speaker 7: But yeah, I didn't think about it too much, but

269
00:14:24,799 --> 00:14:26,720
I'm kind of glad I've carried you know, a lot

270
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of them over.

271
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Speaker 3: I think, Okay, excellent, excellent. So the album the newest

272
00:14:30,559 --> 00:14:33,240
one in songs for weathering storms? What does that mean

273
00:14:33,279 --> 00:14:35,279
to you? And I assume you know, in terms of

274
00:14:35,279 --> 00:14:39,320
weathering storms? And I I assume and I did listen

275
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to the whole thing. I really like it, But is

276
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there a theme that you're presenting? Sort of a almost

277
00:14:44,759 --> 00:14:49,120
like it feels like there might be a story, but

278
00:14:49,240 --> 00:14:49,840
I'm not sure.

279
00:14:50,159 --> 00:14:52,879
Speaker 1: Okay, it's I think it's a concept album.

280
00:14:52,960 --> 00:14:55,600
Speaker 7: Yeah, I mean I wrote all the songs, you know,

281
00:14:55,679 --> 00:14:57,720
I obviously carried about three or four over and wrote

282
00:14:57,840 --> 00:15:00,200
the rest of the song kind of around the the

283
00:15:00,240 --> 00:15:03,840
weather in storms kind of gam up really and.

284
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Speaker 1: It was like, I don't know, everyone's going through so

285
00:15:06,480 --> 00:15:07,679
much stuff.

286
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Speaker 7: Right now, and I mean people always have, but I

287
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don't know if it's because of social media.

288
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Speaker 1: It always seems very prevalent.

289
00:15:12,919 --> 00:15:14,759
Speaker 7: It seems to be right at the surface right now

290
00:15:14,879 --> 00:15:17,399
that everyone just seems to be going through potentially the

291
00:15:17,440 --> 00:15:20,200
worst time of their lives. But yeah, life couldn't be

292
00:15:20,279 --> 00:15:23,320
any easier in a way, right, So it was just,

293
00:15:23,639 --> 00:15:26,240
you know, it was just about hold on, man, it'll

294
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be all right, Like everything will be okay, you know,

295
00:15:28,559 --> 00:15:30,320
in the end, and if it's not the end, then

296
00:15:30,360 --> 00:15:32,960
it'll be all right, you know. And it's like, I

297
00:15:33,039 --> 00:15:34,679
just think, you've just got to keep going. You've just

298
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got to have faith, you've just got to have hope.

299
00:15:36,320 --> 00:15:39,519
And pretty much every song is like formed in a

300
00:15:39,519 --> 00:15:41,759
bit of heartbreak. There's always about of heartbreak there. There's

301
00:15:41,759 --> 00:15:44,919
always a bit of loss, but ultimately everything's going to

302
00:15:44,960 --> 00:15:46,240
be all right. All you need to do is make

303
00:15:46,279 --> 00:15:48,600
it into tomorrow, you know, just take things day by day.

304
00:15:48,600 --> 00:15:51,279
Speaker 1: It'll be fine. So it's kind of like my nine

305
00:15:51,360 --> 00:15:53,320
tracks of like it'll be okay.

306
00:15:53,360 --> 00:15:55,200
Speaker 7: And I think there's there's a song called Release Repeat,

307
00:15:55,200 --> 00:15:57,960
which is obviously about animal rights and you know all

308
00:15:58,039 --> 00:16:00,960
that kind of thing as well, you know, but the

309
00:16:01,000 --> 00:16:02,639
most of the song, the bulk of the songs on

310
00:16:02,679 --> 00:16:05,159
the album are like it is gonna be all right,

311
00:16:05,279 --> 00:16:06,840
and I know it's been done and I know it's

312
00:16:06,840 --> 00:16:09,559
been done to death, but I guess it's not been

313
00:16:09,559 --> 00:16:11,600
done with these songs in my voice, you know.

314
00:16:11,799 --> 00:16:15,399
Speaker 3: Right right, Yeah, Mountain Song. I was reading that that

315
00:16:15,559 --> 00:16:18,919
was written about a particularly painful breakup, and it's it's

316
00:16:18,960 --> 00:16:23,480
pretty evident in the lyrics, you know, because obviously when

317
00:16:23,519 --> 00:16:27,679
you're a listener, you hear lyrics and it's it's somewhat subjective.

318
00:16:27,679 --> 00:16:30,559
Everyone's going to interpret things a little bit differently, but

319
00:16:30,960 --> 00:16:35,720
there's there's really no misinterpreting that one. To my mind.

320
00:16:35,759 --> 00:16:37,200
I'm listening to it and it's like, okay, you know,

321
00:16:37,360 --> 00:16:41,039
you know what it's about, and it does clearly describe

322
00:16:41,279 --> 00:16:42,360
a painful breakup.

323
00:16:43,840 --> 00:16:46,600
Speaker 7: Yeah, there's a few, really, there's a few on the

324
00:16:46,639 --> 00:16:48,159
on the album that kind of deal with that, and

325
00:16:48,200 --> 00:16:52,200
it is quite it is quite clear. And I don't know,

326
00:16:52,480 --> 00:16:56,000
I think writing about breakup and that breakup and particularly

327
00:16:56,240 --> 00:16:58,399
I always find the kind of catharticism with it.

328
00:16:58,399 --> 00:17:00,799
Speaker 1: You know, it's always like kind of gets the pain

329
00:17:00,840 --> 00:17:01,480
out that's there.

330
00:17:01,559 --> 00:17:03,080
Speaker 7: He kind of rinses it, you know, like a like

331
00:17:03,120 --> 00:17:04,960
a towel, like a wet towel that just rinses it

332
00:17:05,000 --> 00:17:07,240
all out. And I can just kind of deal with

333
00:17:07,279 --> 00:17:09,519
it and kind of move on, you know. But you

334
00:17:09,559 --> 00:17:12,000
know everyone's going to go through three or four heartbreaks

335
00:17:12,039 --> 00:17:14,200
in their life, you know, and this is basically my

336
00:17:14,480 --> 00:17:17,720
heartbreak opus, you know, and ultimately you know that that

337
00:17:18,039 --> 00:17:19,839
you know, we split up like what three years ago,

338
00:17:20,279 --> 00:17:23,319
and you know, everything was all right, but at the time,

339
00:17:23,519 --> 00:17:25,559
I was like, oh my goodness, I've never felt pain

340
00:17:25,680 --> 00:17:26,000
like this.

341
00:17:26,000 --> 00:17:26,799
Speaker 1: This is awful.

342
00:17:27,440 --> 00:17:30,119
Speaker 7: And you know, three three months down the line, you know,

343
00:17:30,200 --> 00:17:32,519
you kind of all right, six months you're like, hey,

344
00:17:32,599 --> 00:17:34,640
I'm healed, this is fine. So I was in a

345
00:17:34,640 --> 00:17:36,519
place where I could actually write a song about it,

346
00:17:36,559 --> 00:17:39,200
and it's very, very real, Like the lyrics are lyrics

347
00:17:39,240 --> 00:17:41,119
that she would say, you know, things she said to

348
00:17:41,160 --> 00:17:43,440
me and things I'd said back, and how I felt.

349
00:17:43,480 --> 00:17:45,359
Speaker 1: So, I mean, I don't know if she's heard the song, really,

350
00:17:45,480 --> 00:17:48,920
I assume, so I wasn't been in touch, but you know, I.

351
00:17:48,880 --> 00:17:51,160
Speaker 3: Was going to ask you that if you know, if

352
00:17:51,160 --> 00:17:52,079
she's heard the song.

353
00:17:53,640 --> 00:17:56,200
Speaker 7: I felt like texting me, you know, I just felt like,

354
00:17:56,200 --> 00:17:57,880
like when it came out on Halloween, I was like,

355
00:17:58,079 --> 00:17:58,960
should I text her?

356
00:17:59,119 --> 00:17:59,759
Speaker 1: Yeah?

357
00:17:59,319 --> 00:18:02,640
Speaker 7: But I didn't obviously, and you know, knowing her though

358
00:18:02,839 --> 00:18:03,680
maybe she's heard it.

359
00:18:03,720 --> 00:18:06,079
Speaker 1: I don't know. He's not come at me though, So that's.

360
00:18:05,920 --> 00:18:11,480
Speaker 3: Cool, Okay, okay, good? And what about So I'm really

361
00:18:11,519 --> 00:18:13,319
curious about the production and I'm a bit of a

362
00:18:13,359 --> 00:18:16,799
recording nerd, so uh so, so of course I am.

363
00:18:16,880 --> 00:18:20,680
But there's a so the lack of the lack of

364
00:18:20,799 --> 00:18:24,599
drums is really interesting. It's a very it's a very

365
00:18:24,599 --> 00:18:28,000
sort of a strip stripped down sound, which I really

366
00:18:28,119 --> 00:18:32,039
like because I think a lot of things are are overproduced. Yeah,

367
00:18:32,119 --> 00:18:34,519
and I don't even mean just you know, in these

368
00:18:34,559 --> 00:18:36,799
times that we live in, I mean just going all

369
00:18:36,839 --> 00:18:38,480
the way back to the eighties, there's a lot of

370
00:18:38,519 --> 00:18:41,400
things that I think are overproduced and sound sound you know,

371
00:18:41,480 --> 00:18:44,079
really a little too slick and polished, and you know,

372
00:18:44,160 --> 00:18:47,160
I like a certain rawness and I think you've captured

373
00:18:47,160 --> 00:18:48,039
that with this album.

374
00:18:49,039 --> 00:18:49,240
Speaker 1: Yeh.

375
00:18:49,319 --> 00:18:51,839
Speaker 3: But but I'm I'm curious about I mean, is that

376
00:18:52,039 --> 00:18:55,359
something that you're very intentional about or does that just

377
00:18:55,400 --> 00:18:57,359
sort of come naturally that.

378
00:18:57,440 --> 00:19:00,920
Speaker 7: Approach or I think, you know, being in the Fireflies,

379
00:19:00,960 --> 00:19:04,400
a lot of our albums were quite underproduced, really quite raw,

380
00:19:04,759 --> 00:19:06,119
and a lot of the reviews and a lot of

381
00:19:06,119 --> 00:19:07,960
people listening were like, oh no, obviously this has been

382
00:19:07,960 --> 00:19:10,160
made in a budget blah blah blah, but it wasn't.

383
00:19:10,200 --> 00:19:12,039
I mean, we aimed it to sound like that. So

384
00:19:12,119 --> 00:19:15,440
with The Far North, I wanted a certain level of polish,

385
00:19:15,599 --> 00:19:19,440
but also that like the raw beauty of an acoustic guitar,

386
00:19:19,559 --> 00:19:23,079
you know. So my co producer John O'tringen, like we

387
00:19:23,200 --> 00:19:25,519
in June twenty twenty four, we were like sat in

388
00:19:25,640 --> 00:19:28,559
a local kind of place having breakfast, and we were.

389
00:19:28,440 --> 00:19:30,240
Speaker 1: Like, how do we make this album?

390
00:19:30,279 --> 00:19:32,880
Speaker 7: Because like I did the second album with him, and

391
00:19:32,920 --> 00:19:34,799
it's a bit more rocky, a bit more college rot

392
00:19:34,880 --> 00:19:37,559
Bit Third Eye, Blind Bit, Matchbox twenty Yeah. You know,

393
00:19:37,599 --> 00:19:39,480
we kind of turned the guitars up on that album

394
00:19:39,559 --> 00:19:42,440
and I found myself in like, you know, fireflies kind

395
00:19:42,480 --> 00:19:44,599
of territory again. I thought I need to get away

396
00:19:44,640 --> 00:19:47,319
from this. I keep just going back to that, tried

397
00:19:47,319 --> 00:19:50,319
and tested my favorite sound, you know, just being in a.

398
00:19:50,200 --> 00:19:52,480
Speaker 1: Band, I guess, and we were like, how do we

399
00:19:52,519 --> 00:19:52,839
do this?

400
00:19:52,880 --> 00:19:54,759
Speaker 7: So we just listened, like I say, to a lot

401
00:19:54,759 --> 00:19:59,160
of you know, December Risks and Uncle Chuopolo City and color,

402
00:19:59,240 --> 00:20:01,799
early early Neil Young like Harvest here and Neil Young

403
00:20:02,359 --> 00:20:06,240
and then obviously Nebraska era Springsteen and we're like, we

404
00:20:06,599 --> 00:20:08,480
need to we need to make you know, we It

405
00:20:08,559 --> 00:20:10,240
was a conscious decision and out of the drums and

406
00:20:10,240 --> 00:20:12,200
there's only based on one track and all that, and

407
00:20:12,680 --> 00:20:16,559
it was very it was very planned, but I think

408
00:20:16,640 --> 00:20:19,440
a lot of it was came out like a happy accident.

409
00:20:19,519 --> 00:20:19,680
Speaker 1: You know.

410
00:20:19,759 --> 00:20:23,680
Speaker 7: It was like, Okay, this sound sounds because the production's massive,

411
00:20:23,720 --> 00:20:27,359
it sounds like really well produced. Know it's hugely produced.

412
00:20:27,000 --> 00:20:29,480
Speaker 1: Yes, but the sounds are still quite sorry.

413
00:20:29,480 --> 00:20:32,160
Speaker 7: The songs are still quite direct and quite you know,

414
00:20:32,559 --> 00:20:35,799
down that funnel of like you know, heartbreak and loneliness.

415
00:20:35,839 --> 00:20:36,680
Speaker 1: They're not you know.

416
00:20:36,920 --> 00:20:38,960
Speaker 7: And it was funny because I had a review from

417
00:20:39,000 --> 00:20:42,519
someone and the reviewed Mountain Song funnily enough in a

418
00:20:42,519 --> 00:20:45,799
local magazine and the reviews are usually pretty good, like

419
00:20:45,839 --> 00:20:48,240
I've been lucky this last like twenty years with reviews.

420
00:20:48,400 --> 00:20:51,119
And this guy was like, so this guy who was

421
00:20:51,160 --> 00:20:54,400
from Newcastle, and he just said, oh, the fanals back

422
00:20:54,400 --> 00:20:57,039
again with another one of his massive anthems, and I

423
00:20:57,119 --> 00:21:00,039
was thinking, okay, and he goes he's desperately trying to

424
00:21:00,079 --> 00:21:03,359
be Fleet Foxes and comes right, and the thing is,

425
00:21:03,359 --> 00:21:05,680
I've never listened to Fleet Foxes. I've never they've never

426
00:21:05,960 --> 00:21:09,079
like turned up on my you know, my thoughts for ever.

427
00:21:09,160 --> 00:21:11,200
Speaker 1: Really, I mean, maybe I should, and he goes.

428
00:21:11,759 --> 00:21:14,880
Speaker 7: He sounds desperately wanting to be Fleet Foxes, but comes

429
00:21:14,920 --> 00:21:18,079
across as the drunk old man in the corner hater

430
00:21:18,240 --> 00:21:22,000
walling a song on the karaoke right, that's what he said, Yeah, wow,

431
00:21:22,079 --> 00:21:24,960
So I like so, and he was like, and then

432
00:21:24,960 --> 00:21:27,039
he sent me a message personally and said, I'm really

433
00:21:27,039 --> 00:21:30,079
really sorry that that was like personal, but that's how

434
00:21:30,119 --> 00:21:34,920
I feel about your music. And I was like, I

435
00:21:34,960 --> 00:21:37,319
was like, that's okay, but I've never listened to Fleet

436
00:21:37,319 --> 00:21:39,440
Foxes in my life. It's just one of those bands that, like,

437
00:21:40,279 --> 00:21:41,599
I don't even know who they are. I was like,

438
00:21:41,599 --> 00:21:44,039
what he was like, you know, so it's kind of

439
00:21:44,079 --> 00:21:47,200
funny really, but yeah, it kind of it's annoying someone.

440
00:21:47,279 --> 00:21:47,599
Speaker 1: I guess.

441
00:21:47,759 --> 00:21:50,880
Speaker 3: It's funny that he actually contacted you to tell you,

442
00:21:50,880 --> 00:21:53,440
you know, I'm sorry. Sorry I was mean, but here's

443
00:21:53,480 --> 00:21:54,240
why I was mean.

444
00:21:55,240 --> 00:21:57,680
Speaker 7: Yeah, literally, he thought I was like trying to The

445
00:21:57,720 --> 00:21:59,160
thing is as well a few of the reviews have

446
00:21:59,200 --> 00:22:01,079
said like, and I've no, I've never listened to Muff

447
00:22:01,200 --> 00:22:03,400
and Son's once, right, I've never ever listened to them,

448
00:22:03,640 --> 00:22:05,839
because I've heard a few tracks on radio and I'm like,

449
00:22:06,119 --> 00:22:08,599
it's not really my jam and everyone's like, oh my godly,

450
00:22:09,119 --> 00:22:11,200
like it's so Munffing and Sons, it's so good, it's

451
00:22:11,200 --> 00:22:13,400
so commercial, and I'm like, oh, do you know what

452
00:22:13,440 --> 00:22:13,680
I mean?

453
00:22:13,759 --> 00:22:16,119
Speaker 1: It's like, I didn't really write it to be commercial.

454
00:22:16,319 --> 00:22:18,920
Speaker 7: I write I wrote it for people to to just

455
00:22:19,079 --> 00:22:21,519
enjoy it. I guess just kind of you know, there's

456
00:22:21,519 --> 00:22:24,519
no plan here, I just kind of do you know.

457
00:22:24,799 --> 00:22:27,279
Speaker 3: I can tell you, so I've I've listened to Fleet

458
00:22:27,759 --> 00:22:31,440
Fleet Fox's. I don't know. I I've definitely heard a

459
00:22:31,480 --> 00:22:34,119
lot of Mumford and Sons. Is huge here in America,

460
00:22:34,279 --> 00:22:36,079
so I've heard a lot of Umfort and Sons. I

461
00:22:36,079 --> 00:22:39,799
can tell you. I I kind of understand why someone

462
00:22:39,880 --> 00:22:42,440
would hear that, but I don't hear it in the

463
00:22:42,519 --> 00:22:46,079
sense that because I really like the album, but I

464
00:22:46,119 --> 00:22:48,279
find Mumford and Sons kind of unbearable.

465
00:22:48,880 --> 00:22:49,880
Speaker 1: So I did myself.

466
00:22:49,960 --> 00:22:53,720
Speaker 3: Yeah, yeah, so I definitely uh so again, I can

467
00:22:53,880 --> 00:22:57,640
understand why someone would make that connection, I guess, but

468
00:22:57,640 --> 00:22:59,839
but I don't. I don't really hear it myself. I

469
00:22:59,839 --> 00:23:02,319
don't perceive it that way honestly, until you mentioned Mumford

470
00:23:02,359 --> 00:23:03,680
and Sons, it hadn't even occurred to me.

471
00:23:04,440 --> 00:23:07,000
Speaker 1: Oh that's good then, nor Fleet Foxes.

472
00:23:07,279 --> 00:23:08,079
Speaker 3: To be honest with you.

473
00:23:08,119 --> 00:23:10,079
Speaker 7: Yea, yeah, I listened to them like they've got a

474
00:23:10,119 --> 00:23:12,559
few good songs and you know Fleet Foxes, and they thought, oh,

475
00:23:12,599 --> 00:23:14,119
this is a band that actually they're actually good.

476
00:23:14,160 --> 00:23:15,079
Speaker 1: I quite like this, but I.

477
00:23:15,000 --> 00:23:16,880
Speaker 7: Thought I never sat down and sort of thought, you

478
00:23:16,880 --> 00:23:18,480
know what, I really want this to sound like a

479
00:23:18,519 --> 00:23:21,039
cross between Munth and Sons and Fleet Foxes.

480
00:23:21,079 --> 00:23:22,799
Speaker 1: That it never occurred, like what.

481
00:23:22,960 --> 00:23:27,720
Speaker 3: Right right now? What happens live? Is it? Do you

482
00:23:27,720 --> 00:23:29,880
have other musicians who perform with you live or is

483
00:23:29,920 --> 00:23:30,519
it just you?

484
00:23:30,759 --> 00:23:32,279
Speaker 1: Or yeah, it's just me.

485
00:23:32,359 --> 00:23:35,079
Speaker 7: I did an album launch here in Runcorn for the

486
00:23:35,160 --> 00:23:36,720
out of the day after the album came out, and

487
00:23:36,759 --> 00:23:38,759
it was just me on a stool and acoustic in

488
00:23:39,480 --> 00:23:41,359
this venue, and you know, there's a couple of hundred

489
00:23:41,400 --> 00:23:44,440
people that turned up and it's just me, really, you know,

490
00:23:44,559 --> 00:23:47,119
And I don't know. It's like whenever I've seen City

491
00:23:47,160 --> 00:23:49,920
and Color, I've seen him. I used to live in Vancouver,

492
00:23:49,960 --> 00:23:51,960
so I saw him a few times in Vancouver on

493
00:23:52,000 --> 00:23:54,599
his own and that was when they sometimes and bring

494
00:23:54,640 --> 00:23:58,680
me your love albums were out, and I never really thought, oh,

495
00:23:58,920 --> 00:24:00,559
you know, I hope that there's a full or I

496
00:24:00,599 --> 00:24:02,720
hope there's you know. I've always just been happy to

497
00:24:02,759 --> 00:24:05,440
hear that person in that voice. Really, so I think

498
00:24:05,880 --> 00:24:06,960
I've never really said to.

499
00:24:06,920 --> 00:24:08,720
Speaker 1: Anyone when I do a gig, oh, it's just me.

500
00:24:08,880 --> 00:24:11,000
Speaker 7: I don't know if people are ever kind of expecting

501
00:24:11,000 --> 00:24:11,400
a band.

502
00:24:11,559 --> 00:24:12,200
Speaker 1: Yeah, I don't know.

503
00:24:12,279 --> 00:24:16,359
Speaker 7: No one's ever mentioned it, which is which is funny really,

504
00:24:16,799 --> 00:24:19,160
but it's it's just me with an acoustic guitar.

505
00:24:19,319 --> 00:24:23,440
Speaker 3: Yeah, yeah, But it's cool that because you're you're performing

506
00:24:23,559 --> 00:24:26,279
something that that can, you know, lend itself like if

507
00:24:26,279 --> 00:24:28,400
you wanted to put a band together, obviously you could,

508
00:24:28,440 --> 00:24:32,599
but this lends itself to any any configuration, right like

509
00:24:32,680 --> 00:24:34,440
you could it can just be you, or if you

510
00:24:34,480 --> 00:24:37,359
wanted to bring another just another acoustic guitarist on stage

511
00:24:37,400 --> 00:24:38,960
with you, you could do that, or you could play

512
00:24:38,960 --> 00:24:40,400
with the band. You know, you could do whatever you

513
00:24:40,440 --> 00:24:42,960
wanted with these songs. And I've always been a little

514
00:24:42,960 --> 00:24:46,400
bit fascinated by that because so I'm a musician. I

515
00:24:46,519 --> 00:24:48,240
used to play. I don't play currently, but I used

516
00:24:48,240 --> 00:24:49,640
to play in a lot of bands, but every band

517
00:24:49,680 --> 00:24:51,759
I was ever in it was like, Okay, it's me

518
00:24:51,880 --> 00:24:54,519
and three other guys, and it has to always be

519
00:24:54,759 --> 00:24:57,319
this configuration. It has to always be the four of us,

520
00:24:57,359 --> 00:25:00,599
because if you take any anything out it, you know,

521
00:25:00,759 --> 00:25:05,160
it collapses. But you know, so I've always been fascinated

522
00:25:05,200 --> 00:25:08,720
by the concept of just doing something where you can

523
00:25:08,759 --> 00:25:11,079
do it in any co configuration you want, Like like

524
00:25:11,119 --> 00:25:13,640
with jam bands, you know you can you know, if

525
00:25:13,680 --> 00:25:16,279
the saxophone player shows up, great, if not, doesn't matter,

526
00:25:16,279 --> 00:25:18,400
who cares. You know, you can you can play any

527
00:25:18,400 --> 00:25:21,559
way you want to. Yeah, exactly, And there's a it

528
00:25:21,559 --> 00:25:23,400
seems like there's a freedom that comes with that.

529
00:25:24,599 --> 00:25:25,920
Speaker 1: Yeah, oh yeah, oh yeah.

530
00:25:25,960 --> 00:25:29,480
Speaker 3: What about is it ever or well, I'm sure it's

531
00:25:29,519 --> 00:25:31,559
not by this point, but at any point. Was it

532
00:25:31,640 --> 00:25:35,200
weird for you doing it that way after having played

533
00:25:35,200 --> 00:25:37,119
with a band for fifteen years?

534
00:25:37,559 --> 00:25:38,160
Speaker 1: Yeah, it was.

535
00:25:38,200 --> 00:25:40,359
Speaker 7: It was really strange at first. So, like my first

536
00:25:40,680 --> 00:25:43,400
gig as the Far North was at Old Trafford Stadium

537
00:25:43,480 --> 00:25:47,559
where Manchester United play. So that was about eight days

538
00:25:47,559 --> 00:25:50,279
before COVID hit. Funny enough, it was like early March

539
00:25:50,359 --> 00:25:52,960
twenty twenty. So I got up there and they had

540
00:25:52,960 --> 00:25:56,279
this huge event with like a few of the bands on,

541
00:25:56,839 --> 00:26:00,000
big local bands from Manchester and it was a match.

542
00:26:00,400 --> 00:26:02,720
So you know, there's me on the big screens and

543
00:26:02,720 --> 00:26:05,559
I'm just sat there with my acoustic guitar playing to

544
00:26:05,599 --> 00:26:08,279
all these people. And it was I think that the

545
00:26:08,359 --> 00:26:10,839
thought of it was a bit strange because it was

546
00:26:10,920 --> 00:26:11,240
just me.

547
00:26:11,920 --> 00:26:13,079
Speaker 1: Was kind of et up.

548
00:26:12,920 --> 00:26:15,319
Speaker 7: By the fact that I was like, holy cow, like

549
00:26:15,880 --> 00:26:18,480
what like there was so many people there. I was like, okay,

550
00:26:18,799 --> 00:26:20,880
So I kind of like set my stall out super

551
00:26:20,920 --> 00:26:21,839
early with the Far North.

552
00:26:21,880 --> 00:26:24,599
Speaker 1: I was like, okay, have guitar, will travel, you know.

553
00:26:24,839 --> 00:26:27,440
Speaker 7: And I think I had a friend that sadly passed

554
00:26:27,440 --> 00:26:30,359
away on Christmas Day about eight years ago called Paul Savage,

555
00:26:30,400 --> 00:26:32,319
and the first album is dedicated to him, and he

556
00:26:32,720 --> 00:26:35,160
used to come to all the Firefly shows and it's

557
00:26:35,160 --> 00:26:37,480
saying he used to say to me, your songwriting is

558
00:26:37,559 --> 00:26:40,640
so leans itself so much to a just acoustic guitar

559
00:26:40,720 --> 00:26:43,240
voice and harmonica, you should really do that. And he

560
00:26:43,279 --> 00:26:45,960
sadly passed away before I got a chance to, you know,

561
00:26:46,319 --> 00:26:48,880
from the Far North. And he was right, you know,

562
00:26:49,000 --> 00:26:51,200
he was absolutely right that it was it was so

563
00:26:51,359 --> 00:26:54,039
much easier as well, just me you know, get my

564
00:26:54,119 --> 00:26:55,559
guitar in the car away we go.

565
00:26:55,680 --> 00:26:58,680
Speaker 1: It's just it's awesome. You know, I wouldn't trade it

566
00:26:58,680 --> 00:26:59,640
in for anything at this point.

567
00:27:00,119 --> 00:27:02,720
Speaker 3: Oh, that's fantastic. Do you ever do you keep in

568
00:27:02,759 --> 00:27:04,359
touch with any of the guys from the Far North?

569
00:27:04,440 --> 00:27:06,319
I mean, I'm sorry from the Fireflies.

570
00:27:07,079 --> 00:27:09,400
Speaker 7: Yeah, I'm going away with the Basis tomorrow. We're going

571
00:27:09,440 --> 00:27:12,440
to Poland in the morning. We'll go into the Outfits. Yeah,

572
00:27:12,480 --> 00:27:15,119
we're going to do the tour of outfits to pay

573
00:27:15,119 --> 00:27:19,160
our respect. Yeah, you know, because like my grandfather was

574
00:27:19,200 --> 00:27:21,880
a gunner in World War Two, and you know, everyone

575
00:27:22,119 --> 00:27:24,319
everyone's got family that was in World War Two, you know.

576
00:27:24,519 --> 00:27:25,119
Speaker 1: Yeah.

577
00:27:25,160 --> 00:27:27,039
Speaker 7: So yeah, so me and Sam the basis, He was

578
00:27:27,039 --> 00:27:29,240
the basis in the Fireflies for many, many years.

579
00:27:29,359 --> 00:27:31,559
Speaker 1: And yeah, so we're off to Poland in the morning.

580
00:27:31,839 --> 00:27:32,079
Speaker 8: Wow.

581
00:27:32,880 --> 00:27:33,119
Speaker 5: Yeah.

582
00:27:33,160 --> 00:27:35,039
Speaker 7: So some of the other guys, Yeah, we speak every

583
00:27:35,079 --> 00:27:37,640
now and then, and that you know a few people

584
00:27:37,640 --> 00:27:41,759
from the band that haven't speak spoken to since since

585
00:27:41,759 --> 00:27:43,359
the band broke up. You know, there was never any

586
00:27:43,359 --> 00:27:46,079
bad blood. I was just like, I can't really do

587
00:27:46,160 --> 00:27:48,680
this anymore, this yeah thing, you know. And before that,

588
00:27:49,200 --> 00:27:51,400
I was in a band called Warped for like ten years,

589
00:27:51,440 --> 00:27:53,160
and that was a full time as well, since when

590
00:27:53,160 --> 00:27:56,000
I was like fifteen. So yeah, for like twenty twenty

591
00:27:56,039 --> 00:27:59,720
five years, i've just been doing the full band thought. Yeah, yeah,

592
00:27:59,720 --> 00:28:02,359
so now it's just I absolutely love it now. But yeah,

593
00:28:02,400 --> 00:28:04,039
I keep in contact with a few of the guys

594
00:28:04,039 --> 00:28:05,480
and it's you know, it's all good. They come to

595
00:28:05,480 --> 00:28:06,279
the shows and stuff.

596
00:28:06,319 --> 00:28:08,440
Speaker 1: Oh good, good, it's nice. Yeah, it's nice.

597
00:28:08,519 --> 00:28:10,319
Speaker 3: Yeah, that's what I was wondering about if if there

598
00:28:10,359 --> 00:28:12,759
was any acrimony there. But that's that's good.

599
00:28:12,759 --> 00:28:14,440
Speaker 1: Old no, nothing now nothing, it's all No.

600
00:28:14,559 --> 00:28:16,599
Speaker 3: That's good. That's that's very good.

601
00:28:17,319 --> 00:28:17,480
Speaker 2: Now.

602
00:28:18,000 --> 00:28:22,720
Speaker 3: So what's kind of the forward trajectory for you? I mean, obviously,

603
00:28:23,720 --> 00:28:26,559
I'm sure you're focused mainly on promoting the current album,

604
00:28:26,559 --> 00:28:29,559
but you strike me as someone too you're probably always writing, right,

605
00:28:29,599 --> 00:28:31,359
you were kind of alluded to that earlier, that you

606
00:28:31,400 --> 00:28:34,039
write a lot of songs. Uh. Do you have a

607
00:28:34,759 --> 00:28:37,599
future recording plans in the in the near future or

608
00:28:37,799 --> 00:28:38,960
are you thinking about that yet?

609
00:28:39,799 --> 00:28:40,200
Speaker 1: I think so.

610
00:28:40,279 --> 00:28:42,160
Speaker 7: Yeah, I've got quite a few good shows coming up,

611
00:28:42,759 --> 00:28:46,799
you know, I got some really really good acoustic shows

612
00:28:46,880 --> 00:28:48,279
and I'm really looking forward to those.

613
00:28:48,400 --> 00:28:50,640
Speaker 1: So yeah, there's one on the third third of January.

614
00:28:50,680 --> 00:28:53,279
Speaker 7: And that's supporting the guy that was in the Seahorses,

615
00:28:53,279 --> 00:28:55,440
the guy who who formed a band with John Squire

616
00:28:55,480 --> 00:28:57,920
from the Stone Roses. That's quite nice. There's some some

617
00:28:58,039 --> 00:29:00,920
nice ones coming up. But because I've been writing so much,

618
00:29:01,359 --> 00:29:04,920
I actually thought once songs were general, so sorry, songs

619
00:29:04,920 --> 00:29:08,319
for weather Weathering Stones was finished. So we finished it

620
00:29:08,359 --> 00:29:12,400
in like maybe maybe July, who was completely finished, and

621
00:29:12,400 --> 00:29:14,680
then the single was out in October and we worked

622
00:29:14,680 --> 00:29:16,519
for like fifty you know, eighteen months on. It was

623
00:29:16,519 --> 00:29:18,039
like a year and a half, and I thought, you

624
00:29:18,079 --> 00:29:20,279
know what, I'm never going to the studio again because

625
00:29:20,319 --> 00:29:23,319
it's just drained me completely. Like everything about this album

626
00:29:23,400 --> 00:29:25,880
has been like it was difficult to record in a

627
00:29:26,400 --> 00:29:29,200
not not a difficult logistically because like you know, me

628
00:29:29,240 --> 00:29:31,079
and John O produced it and it was very easy

629
00:29:31,119 --> 00:29:31,480
that way.

630
00:29:31,599 --> 00:29:33,839
Speaker 1: Yeah, but like every every.

631
00:29:33,720 --> 00:29:35,400
Speaker 7: Fiber of who I am was put into it, do

632
00:29:35,400 --> 00:29:37,480
you know what I mean. I was so just just

633
00:29:37,599 --> 00:29:40,400
drained by the whole process because it was mainly me

634
00:29:40,480 --> 00:29:43,519
playing stuff over and over again. So and I thought

635
00:29:43,559 --> 00:29:45,039
I would I wouldn't be going to the studio again.

636
00:29:45,079 --> 00:29:46,920
But the way I feel at the moment, and I

637
00:29:46,920 --> 00:29:49,079
did say this to one of my friends just before Christmas.

638
00:29:49,200 --> 00:29:51,759
I could probably see myself going back in to do

639
00:29:51,839 --> 00:29:55,359
a more acoustic album in like April or May. So

640
00:29:55,519 --> 00:29:58,519
maybe spend like three or four months just doing just

641
00:29:58,640 --> 00:30:00,720
fiddle and monica and.

642
00:30:00,720 --> 00:30:04,359
Speaker 1: Acoustic guitar, that is it. No piano, no.

643
00:30:04,319 --> 00:30:08,200
Speaker 7: Percussion, nothing, just a very very low key album and

644
00:30:08,240 --> 00:30:10,160
maybe have that out by October. That's kind of the

645
00:30:10,160 --> 00:30:11,720
way I'm thinking, because I'm writing quite a lot of

646
00:30:11,759 --> 00:30:14,480
the moment. So yeah, yeah, But having said that, I'm

647
00:30:14,480 --> 00:30:16,759
a Gemini, so I might never release an album again.

648
00:30:16,799 --> 00:30:17,240
Speaker 1: I don't know.

649
00:30:19,160 --> 00:30:22,079
Speaker 3: No, I'm sure. I'm sure you will. No, that's that's fantastic. No,

650
00:30:22,200 --> 00:30:24,599
I can't wait to I can't wait to hear what

651
00:30:24,680 --> 00:30:28,680
comes out next. Thank you in a moment. Well, we'll

652
00:30:28,720 --> 00:30:31,920
let you go in a moment and we're gonna play Well,

653
00:30:32,160 --> 00:30:34,920
we'll end the segment with Sailor and the Sea. What

654
00:30:35,079 --> 00:30:36,559
should we know about this song?

655
00:30:37,599 --> 00:30:40,160
Speaker 7: I'm glad you picked that one. That's my second favorite

656
00:30:40,200 --> 00:30:43,799
after Mountain Song song. Yeah, like Sailor in the Sea

657
00:30:44,160 --> 00:30:49,400
is I think it's like again, it's about the same girl.

658
00:30:49,680 --> 00:30:52,000
It's not the same girl in Mountain Song. Yeah, yeah,

659
00:30:52,200 --> 00:30:55,359
but then so so so mounting song. Right, So you've

660
00:30:55,400 --> 00:30:57,039
got the first half of it where it's a little

661
00:30:57,039 --> 00:31:01,079
bit kind of like you know, I guess, and then

662
00:31:01,119 --> 00:31:05,119
it goes that when it goes into the jig d,

663
00:31:05,279 --> 00:31:07,559
that's the like me. That's me a few months later

664
00:31:07,640 --> 00:31:10,839
realizing that the right decision had been made to break up.

665
00:31:10,880 --> 00:31:12,519
Speaker 1: So that was me finding the happiness.

666
00:31:12,920 --> 00:31:15,359
Speaker 7: So Sailor in the Sea is almost like two songs

667
00:31:15,480 --> 00:31:17,839
bolted together again. So the first half of Sailor in

668
00:31:17,920 --> 00:31:20,920
the Sea is me feeling completely lost when she left.

669
00:31:20,960 --> 00:31:23,759
It was like how how will I ever livet and

670
00:31:23,799 --> 00:31:25,319
do you know what I mean? It's like as a

671
00:31:25,319 --> 00:31:27,279
as a forty year old man, like you know what

672
00:31:27,319 --> 00:31:29,839
I mean, I'm like just feel like I'm like sixteen

673
00:31:29,920 --> 00:31:31,960
again and just lost and just like how will I

674
00:31:31,960 --> 00:31:34,880
ever cope without this person? And it's the stupidest thing

675
00:31:35,000 --> 00:31:37,160
that you think of. It's so silly, you know at

676
00:31:37,160 --> 00:31:38,640
the time, and you look back now and go what

677
00:31:38,680 --> 00:31:40,200
will you pull yourself together for?

678
00:31:40,599 --> 00:31:40,720
Speaker 5: Right?

679
00:31:40,839 --> 00:31:43,000
Speaker 7: So now, so Sailor in the Sea is pretty much

680
00:31:43,559 --> 00:31:45,440
it's pretty much the first half of it is that,

681
00:31:45,599 --> 00:31:47,279
and then the second half of it is kind of

682
00:31:47,359 --> 00:31:50,359
owed to the person I met, like you know, recently,

683
00:31:50,799 --> 00:31:55,279
so like you know, so it's like all the lyrics

684
00:31:55,279 --> 00:31:57,240
and you know, do you have the heart to make

685
00:31:57,279 --> 00:31:58,759
it through you and all that, and it's almost like

686
00:31:58,799 --> 00:32:01,279
I was like not saying saved by this person, but

687
00:32:01,519 --> 00:32:03,920
you know, when you find love again after a break up,

688
00:32:04,000 --> 00:32:06,759
it's like almost everything's in color and it's wonderful and

689
00:32:07,279 --> 00:32:10,319
springs in bloom. So the second half of Selling the

690
00:32:10,359 --> 00:32:13,319
Sea is about the faith and hope that my girlfriend

691
00:32:13,319 --> 00:32:13,920
now gave.

692
00:32:13,759 --> 00:32:14,160
Speaker 6: Me, you know.

693
00:32:14,359 --> 00:32:16,720
Speaker 7: So it's wow. So it's kind of yeah, so I

694
00:32:16,799 --> 00:32:19,279
love that song. Yeah, it's nice. That's a really nice

695
00:32:19,359 --> 00:32:20,200
kind of hopeful chin.

696
00:32:20,440 --> 00:32:21,559
Speaker 3: I bet she likes it too.

697
00:32:22,559 --> 00:32:22,799
Speaker 5: Yeah.

698
00:32:22,920 --> 00:32:24,359
Speaker 1: Yeah, she actually said to me.

699
00:32:24,680 --> 00:32:27,599
Speaker 7: She came to one of my shows in York last

700
00:32:27,680 --> 00:32:30,079
year and she was like, you're going to have a

701
00:32:30,079 --> 00:32:33,599
song about me because these are all about your exits. Well,

702
00:32:34,000 --> 00:32:36,599
and then so there was the second half of that,

703
00:32:36,640 --> 00:32:38,519
and then a Ship of Bones, which is the last

704
00:32:38,559 --> 00:32:41,240
track on the album, was exclusively about her, you know,

705
00:32:41,359 --> 00:32:42,799
which is really nice.

706
00:32:42,960 --> 00:32:44,400
Speaker 1: You know, so she's made up about that and so

707
00:32:44,559 --> 00:32:45,720
you know, so it's all good.

708
00:32:45,559 --> 00:32:48,440
Speaker 3: Oh good, good, very good. Well, so we'll play that

709
00:32:48,440 --> 00:32:50,759
in a moment. But before we let you, goalie, what

710
00:32:50,880 --> 00:32:53,119
where should people go online? Where's the best place to

711
00:32:53,119 --> 00:32:55,200
go to keep up with everything that you're doing as

712
00:32:55,240 --> 00:32:56,799
the Far North? Where should people go?

713
00:32:57,359 --> 00:32:59,799
Speaker 7: I'm more prevalent on Instagram than anything else, So I

714
00:32:59,799 --> 00:33:03,279
think Instagram is the Far North music, and the likes

715
00:33:03,279 --> 00:33:05,880
of Twitter and Facebook and TikTok, it's just the Far

716
00:33:06,000 --> 00:33:08,319
North music and I'm on there. I post most days,

717
00:33:08,480 --> 00:33:11,119
you know, I always reply to people. There's been a

718
00:33:11,119 --> 00:33:14,400
massive kind of avalanche of people just getting in contact

719
00:33:14,440 --> 00:33:15,359
since the album came out.

720
00:33:15,400 --> 00:33:17,200
Speaker 1: Really, you know when obviously it hit.

721
00:33:17,640 --> 00:33:19,960
Speaker 7: Like a couple of charts and stuff, and obviously it's

722
00:33:19,960 --> 00:33:22,160
found its way all, you know, all the way over

723
00:33:22,200 --> 00:33:24,920
to the us of A your good self, you know, yes,

724
00:33:25,039 --> 00:33:27,799
So it stuns me really, I just kind of think,

725
00:33:27,839 --> 00:33:31,440
like holy moldly, like what is happening here? So it's

726
00:33:31,480 --> 00:33:34,200
just great that people getting in contact. So anyone that

727
00:33:34,279 --> 00:33:36,799
wanted wants to reach out, you know, they're more than welcome.

728
00:33:37,000 --> 00:33:41,000
Speaker 3: I always reply excellent, excellent, Well we will let you go.

729
00:33:41,200 --> 00:33:43,319
We'll hit that track in a moment. But Lee Wilding

730
00:33:43,359 --> 00:33:45,240
of the Far North, thank you so much. We will

731
00:33:45,279 --> 00:33:47,440
definitely have to do this again in the future and

732
00:33:47,799 --> 00:33:49,519
really appreciate you joining us today.

733
00:33:50,160 --> 00:33:52,000
Speaker 1: No, it's been my pleasure. Thank you very much for

734
00:33:52,039 --> 00:33:53,160
having me on mate. Thank you.

735
00:33:53,240 --> 00:33:55,079
Speaker 3: All right, you got it, Lee. We'll talk to you soon,

736
00:33:55,119 --> 00:33:58,359
I'm sure. Take care, thanks mate. Bye bye, okay, bye bye.

737
00:33:58,880 --> 00:34:02,720
All right. That is Lee Wildinges project is The Far North,

738
00:34:02,799 --> 00:34:05,680
And here's another great track from the new album. This

739
00:34:05,759 --> 00:34:08,960
is called Sailor and the Sea. The Far North.

740
00:34:20,280 --> 00:34:25,639
Speaker 8: Is the Renathan left to say as fade away to

741
00:34:26,000 --> 00:34:35,320
a tream and move around the room, the stark and

742
00:34:35,480 --> 00:34:38,280
daft and new, I'm over here.

743
00:34:41,480 --> 00:34:44,239
Speaker 6: And then it all falls down.

744
00:34:44,519 --> 00:34:47,320
Speaker 5: Here, it all falls down.

745
00:34:47,599 --> 00:34:49,320
Speaker 6: And it gets faster.

746
00:34:50,199 --> 00:34:56,880
Speaker 4: I suspinning me around. Then Sis starts to come, take.

747
00:34:56,679 --> 00:35:00,079
Speaker 5: It off of me, like you say, it's you with

748
00:35:00,239 --> 00:35:01,760
the sea, like.

749
00:35:01,840 --> 00:35:26,400
Speaker 6: A sailor through the sea.

750
00:35:17,239 --> 00:35:17,880
Speaker 5: And the night.

751
00:35:18,199 --> 00:35:22,559
Speaker 2: I hay there, I'm lost, so aware.

752
00:35:22,400 --> 00:35:29,320
Speaker 5: Of this part my heart.

753
00:35:29,559 --> 00:35:30,840
Speaker 2: It starts to break.

754
00:35:31,480 --> 00:35:36,960
Speaker 4: I'm the lovees to make how could it lasts?

755
00:35:38,639 --> 00:35:42,119
Speaker 2: And then it all falls down, get it.

756
00:35:42,079 --> 00:35:46,480
Speaker 6: All falls down and it gets faster.

757
00:35:47,360 --> 00:35:49,239
Speaker 2: I spend it mere round.

758
00:35:49,880 --> 00:35:54,800
Speaker 4: Then the Sis starts to gone. It's taking over me

759
00:35:55,920 --> 00:36:00,000
like sail lets the scene, like sailor.

760
00:36:00,119 --> 00:36:32,679
Speaker 5: To the scene, I A had to make a fery.

761
00:36:35,920 --> 00:36:43,480
Speaker 2: Without you. Please come home to me.

762
00:36:53,800 --> 00:36:54,480
Speaker 5: To make.

763
00:36:58,760 --> 00:36:59,599
Speaker 2: Without you.

764
00:37:17,000 --> 00:37:21,760
Speaker 5: Make but.

765
00:37:27,719 --> 00:37:36,079
Speaker 2: Please come home to me. Black Sail to the Sea.

766
00:37:38,239 --> 00:37:40,000
Speaker 3: What a great track. I love the way that ends

767
00:37:40,119 --> 00:37:42,440
a sailor and the sea that is the far North

768
00:37:42,840 --> 00:37:45,519
Lee Wilding. Of course, thank you Lee again for joining

769
00:37:45,559 --> 00:37:48,360
us today on the program. That was a great conversation.

770
00:37:48,440 --> 00:37:51,239
I really really enjoyed talking to him and definitely a

771
00:37:51,239 --> 00:37:53,840
big fan of his music. If you are just joining us,

772
00:37:53,880 --> 00:37:56,039
of course, this is Matt Connorton Unleashed and we are

773
00:37:56,119 --> 00:37:59,400
live from the studios of w m n H ninety

774
00:37:59,400 --> 00:38:03,920
five point three here in glorious Manchester, New Hampshire. And

775
00:38:04,360 --> 00:38:06,719
if you are driving around today, actually roads are probably

776
00:38:06,719 --> 00:38:08,360
fine by now. When I came in this morning, I

777
00:38:08,400 --> 00:38:12,280
was not expecting all that snow to be on the ground.

778
00:38:12,400 --> 00:38:14,559
Not that there was a lot, but just enough to

779
00:38:14,639 --> 00:38:18,440
kind of make make things a little bit of a nuisance.

780
00:38:18,880 --> 00:38:21,880
But I do think that we'll, uh, yeah, let's look

781
00:38:21,920 --> 00:38:24,320
at some more music industry news because we do have

782
00:38:24,360 --> 00:38:27,679
a little bit of time. This is something that popped

783
00:38:27,760 --> 00:38:34,039
up from Digital Musicnews dot com hackers scrape Spotify's entire library.

784
00:38:34,239 --> 00:38:35,960
I thought of this when I saw, you know, we

785
00:38:35,960 --> 00:38:38,760
were talking earlier a little bit about Spotify and the

786
00:38:38,800 --> 00:38:42,159
importance of being on Spotify so that your music is discoverable,

787
00:38:42,400 --> 00:38:43,960
a term that we like to use in the industry.

788
00:38:43,960 --> 00:38:49,960
But hackers have scraped Spotify's entire library obtain three hundred

789
00:38:50,039 --> 00:38:54,119
terabytes worth of audio. Spotify says it has identified and

790
00:38:54,440 --> 00:38:59,719
disabled the nefarious user accounts. I hope they do a

791
00:38:59,760 --> 00:39:03,239
lot more than that. Just identifying and disabling those accounts

792
00:39:03,320 --> 00:39:06,360
is not going to fix the problem long term. I mean,

793
00:39:06,360 --> 00:39:07,639
if they did it once, they can do it again

794
00:39:07,639 --> 00:39:10,719
in theory. But it says here hackers say they've scraped

795
00:39:10,760 --> 00:39:14,920
Spotify's entire music library, compiling the metadata behind two hundred

796
00:39:14,960 --> 00:39:19,559
and fifty six million tracks, two hundred and fifty six

797
00:39:19,639 --> 00:39:24,599
million tracks tied to over fifteen point four million artist profiles,

798
00:39:25,199 --> 00:39:28,880
and intend to make a massive amount of music available

799
00:39:28,920 --> 00:39:32,639
to torrent. Meanwhile, Spotify is acknowledged to the breach and

800
00:39:32,719 --> 00:39:38,280
confirmed that the culprits accessed some of the platform's audio files,

801
00:39:39,039 --> 00:39:42,119
some of the platform's audio files and quotes. So Spotify

802
00:39:42,119 --> 00:39:47,599
acknowledging I mean, you know, fifteen point actually two hundred

803
00:39:47,599 --> 00:39:51,920
and fifty six million that's some of the platform's audio files.

804
00:39:51,960 --> 00:39:54,320
I wonder how many actual audio files? Do you ever

805
00:39:54,360 --> 00:39:58,719
wonder about that? Like, how much actual music is on Spotify?

806
00:39:59,360 --> 00:40:02,719
How many how many audio files are on Spotify? Because

807
00:40:02,719 --> 00:40:04,880
we were talking about I remember a couple of years

808
00:40:04,880 --> 00:40:07,400
ago on the show now might have been two or

809
00:40:07,440 --> 00:40:10,119
three years ago, we were talking about how Spotify had

810
00:40:10,159 --> 00:40:14,199
announced that they were starting to remove some music from

811
00:40:14,239 --> 00:40:18,679
its platform because people were uploading you know, demos and

812
00:40:19,639 --> 00:40:22,400
really lo fi. I don't mean lo fi as in

813
00:40:22,679 --> 00:40:25,519
the style of recording. You know, you can you can

814
00:40:25,559 --> 00:40:28,079
record low fi music or music that sounds like it's

815
00:40:28,079 --> 00:40:31,239
supposed to be, you know, kind of like from another

816
00:40:31,320 --> 00:40:34,880
time even right, But I mean actual like low quality,

817
00:40:35,000 --> 00:40:38,280
like just poor recording quality music. People were just uploading,

818
00:40:38,400 --> 00:40:41,880
you know, stuff that they just just cheap demos that

819
00:40:41,920 --> 00:40:45,519
they'd made on their tape recorder or whatever, just uploading

820
00:40:46,000 --> 00:40:48,320
all of it to Spotify. And it got to a

821
00:40:48,320 --> 00:40:51,320
point where Spotify decided to go through and start and

822
00:40:51,400 --> 00:40:52,880
I don't know how they do it. I mean, I'm

823
00:40:52,920 --> 00:40:55,239
sure they have I'm sure they have the technology to

824
00:40:55,360 --> 00:40:58,480
detect these things, but actually went through and started removing

825
00:40:58,519 --> 00:41:02,239
some of that stuff because you know, if you think

826
00:41:02,239 --> 00:41:07,119
about how much music is being uploaded to these platforms

827
00:41:07,159 --> 00:41:10,719
like Spotify every single day, every single day, all over

828
00:41:10,760 --> 00:41:14,079
the world, people are uploading music, and it's not like,

829
00:41:14,320 --> 00:41:16,000
you know, I think we tend to think of it

830
00:41:16,000 --> 00:41:20,039
as sort of this this infinite thing, like there's just this,

831
00:41:20,840 --> 00:41:25,039
you know, because it's because it's audio. There's just this

832
00:41:25,440 --> 00:41:28,840
infinite amount of space to put all this because it's

833
00:41:28,880 --> 00:41:33,280
not they're not physical objects. It's audio files. So you

834
00:41:33,280 --> 00:41:35,679
can just put as many audio files up as you

835
00:41:35,719 --> 00:41:38,159
want and it doesn't matter how much rumor takes up.

836
00:41:38,199 --> 00:41:40,079
But it actually does matter how much room it takes

837
00:41:40,159 --> 00:41:42,360
up because you have to keep building, you have to

838
00:41:42,440 --> 00:41:45,360
keep building more storage for all this music. It still

839
00:41:45,400 --> 00:41:49,679
takes up space digitally, so you can't just let it

840
00:41:49,719 --> 00:41:51,880
be a free for all. Part of what made me

841
00:41:51,920 --> 00:41:53,559
remember that is because I remember at the time when

842
00:41:53,559 --> 00:41:55,280
we talked about it on the show, some people were

843
00:41:55,360 --> 00:41:58,400
upset and it was another reason to be mad at Spotify.

844
00:41:58,480 --> 00:42:01,280
I guess people were up saying, well, how can they

845
00:42:01,360 --> 00:42:03,559
just go through and remove stuff? Well, yeah, it's it's

846
00:42:03,599 --> 00:42:05,440
a little bit. First of all, a little bit of

847
00:42:05,519 --> 00:42:08,400
quality control is not a bad thing. You know, if

848
00:42:08,480 --> 00:42:12,159
people are just you know, getting the band together and

849
00:42:12,320 --> 00:42:14,400
sticking a tape recorder in the middle of the room

850
00:42:14,559 --> 00:42:20,079
and then taking that taking that recording and uploading Spotify,

851
00:42:20,480 --> 00:42:23,559
you don't necessarily want that on your platform, right, something

852
00:42:23,920 --> 00:42:27,960
something like that, you know. And also there's there's abuses

853
00:42:28,000 --> 00:42:30,480
that goes on that go on, and you know, people

854
00:42:30,599 --> 00:42:33,239
stealing other people's music and uploading it, and there's all

855
00:42:33,320 --> 00:42:35,960
kinds of things going on. So, you know, I'm not

856
00:42:36,000 --> 00:42:40,440
saying that you should never be mad at Spotify about anything,

857
00:42:41,039 --> 00:42:45,360
but you know, but they have a right to police

858
00:42:45,400 --> 00:42:49,840
their own platform too a little bit and make those decisions. Anyway,

859
00:42:50,639 --> 00:42:52,039
that was a little bit of a side street, but

860
00:42:52,079 --> 00:42:56,519
the point is apparently two hundred and fifty six million tracks,

861
00:42:56,960 --> 00:43:01,159
that's only part of how much music is act on Spotify.

862
00:43:01,920 --> 00:43:09,079
So let's see. So there's an update here again. This

863
00:43:09,159 --> 00:43:13,800
is from Digitalmusicnews dot Com. An update as of the

864
00:43:13,840 --> 00:43:16,880
twenty second It says after this piece was published. Well, no,

865
00:43:17,079 --> 00:43:18,920
let's go back. We'll go back to the update after.

866
00:43:19,039 --> 00:43:22,119
Let's look at the original article first. Okay, so the

867
00:43:22,199 --> 00:43:26,840
allegedly responsible hackers part of a self described nonprofit project

868
00:43:26,960 --> 00:43:31,840
called Anna's Archive themselves disclosed the data heist in a

869
00:43:31,880 --> 00:43:36,559
blog post. In that lengthy post, drawing from the metadata,

870
00:43:36,599 --> 00:43:42,000
covers hard stats concerning duration, stream volume, popularity, genre release date,

871
00:43:42,119 --> 00:43:48,440
and more regarding straight audio, Anna's archive indicated that it

872
00:43:48,559 --> 00:43:53,840
had quote archived around eighty six million music files, representing

873
00:43:53,920 --> 00:43:58,760
around ninety nine point six percent of listens and clocking

874
00:43:58,800 --> 00:44:01,960
in at a little un under three hundred terabytes in

875
00:44:02,000 --> 00:44:05,599
total size. A while ago, we discovered a way to

876
00:44:05,800 --> 00:44:09,880
scrape Spotify at scale. For now, this is a torrent's

877
00:44:10,000 --> 00:44:13,840
only archive aimed at preservation, but if there is enough interest,

878
00:44:14,000 --> 00:44:18,920
we could add downloading of individual files to Anna's archived unquote.

879
00:44:19,199 --> 00:44:27,920
The hackers communicated, that's interesting because when they say that

880
00:44:28,119 --> 00:44:31,960
it's only again, this is from the hackers. When they

881
00:44:32,000 --> 00:44:37,159
say that it's aimed at preservation, it sounds like they're

882
00:44:37,599 --> 00:44:41,239
they're trying to present this as an altruistic endeavor. We

883
00:44:41,280 --> 00:44:43,920
want to make sure that nothing ever happens to this music.

884
00:44:45,159 --> 00:44:47,719
We want to make sure. Again, I'm not please, I'm

885
00:44:47,760 --> 00:44:50,239
not justifying what they did. Don't misunderstand me. I'm just

886
00:44:50,280 --> 00:44:53,280
saying that this sounds like this is what they're presenting.

887
00:44:54,119 --> 00:44:56,559
You know, we want to make sure nothing happens to

888
00:44:56,599 --> 00:45:00,320
this music, you know, because in theory Spotify can remove

889
00:45:00,360 --> 00:45:02,639
anything anytime it wants, or an artists can remove anything

890
00:45:02,639 --> 00:45:05,760
anytime it wants, and then where does it go? What

891
00:45:05,880 --> 00:45:08,280
if they just delete it and then that's it. It's

892
00:45:08,320 --> 00:45:11,840
just gone. It's not available anywhere else, right, So they're

893
00:45:11,880 --> 00:45:14,880
trying to preserve all this music. That's that's what That's

894
00:45:14,880 --> 00:45:19,480
what the hackers have communicated, it says you're Unsurprisingly, Spotify

895
00:45:19,599 --> 00:45:24,079
and especially rights holders have plenty to say about those plans,

896
00:45:24,760 --> 00:45:30,920
as noted by third chair head ya Yayov Zimmerman. Yeah

897
00:45:31,000 --> 00:45:34,960
of Zimmerman. However, whatever takedowns and illegal actions follow, the

898
00:45:35,039 --> 00:45:41,079
damage is already done. Technically. Anna's archive claims that it

899
00:45:41,159 --> 00:45:47,719
doesn't host any copyrighted materials, instead purportedly indexing metadata that

900
00:45:47,840 --> 00:45:51,760
is already publicly available direct hosting or not. Some of

901
00:45:51,760 --> 00:45:56,559
the projects supporters are lamenting the Spotify circumvention and the

902
00:45:56,559 --> 00:46:00,719
possibility that will quote ruin the actual important literary archive

903
00:46:00,920 --> 00:46:06,440
unquote by encouraging aggressive litigation. Zimmerman wrote, quote the data

904
00:46:06,559 --> 00:46:09,800
is circulating on P two P networks and there is

905
00:46:09,880 --> 00:46:13,159
no putting the back putting this back in Pandora's box.

906
00:46:13,480 --> 00:46:17,920
Anyone can now, in theory create their own personal, free

907
00:46:18,000 --> 00:46:21,679
version of Spotify All Music up to twenty twenty five,

908
00:46:22,000 --> 00:46:25,800
with enough storage and a personal media streaming service like Plex.

909
00:46:26,239 --> 00:46:29,599
The only real barriers are copyright law and fear of

910
00:46:29,719 --> 00:46:33,519
enforcement unquote. You know, and I'm sure I'm not the

911
00:46:33,519 --> 00:46:35,719
only one who this has occurred, to to whom this

912
00:46:35,760 --> 00:46:39,599
has occurred, you know what this reminds me of. We're

913
00:46:39,639 --> 00:46:46,599
going back. We're going back, geez, how many years? Thirty years,

914
00:46:47,079 --> 00:46:51,599
maybe twenty five years? Napster. This reminds me of Napster.

915
00:46:53,000 --> 00:46:57,480
When Napster first became a thing, file sharing, peer to peer,

916
00:46:57,599 --> 00:47:02,320
file sharing online, and the whole music industry freaked out

917
00:47:02,760 --> 00:47:07,599
because all of a sudden, everything was free online through Napster. Now,

918
00:47:07,639 --> 00:47:11,039
obviously a lot's changed since then, and the music industry

919
00:47:11,079 --> 00:47:12,880
had to figure out ways to adjust to the new

920
00:47:12,920 --> 00:47:20,760
reality and the Internet and all of it. But when

921
00:47:20,800 --> 00:47:24,679
I see this, anyone can now in theory create their

922
00:47:24,679 --> 00:47:27,880
own personal free version of Spotify All Music up to

923
00:47:27,920 --> 00:47:31,119
twenty twenty five with enough storage and a personal media

924
00:47:31,159 --> 00:47:34,440
streaming server like Plex. The only real barriers are copyright

925
00:47:34,480 --> 00:47:43,079
law and fear of enforcement. Let's see, there's a little

926
00:47:43,119 --> 00:47:46,239
do we have time. Oh yeah, we have time. There's

927
00:47:46,239 --> 00:47:53,400
a little bit more here. Oh sorry, okay, here we go.

928
00:47:53,480 --> 00:47:57,719
Perhaps more pressingly, in the AI age, the massive collection

929
00:47:57,800 --> 00:48:02,440
of audio could theoretically be used to train generative generative

930
00:48:02,559 --> 00:48:08,360
models and fuel additional unauthorized sound alike outputs, a particularly

931
00:48:08,400 --> 00:48:12,199
significant issue if the involved platforms are based in countries

932
00:48:12,559 --> 00:48:18,480
with inadequate IP protections. I'm telling you, in some ways,

933
00:48:18,519 --> 00:48:22,159
this is napster all over again. This is napster in

934
00:48:22,199 --> 00:48:28,000
the AI age. It says here. One section of the

935
00:48:28,119 --> 00:48:33,199
na archives site says, quote, it is well understood that lms,

936
00:48:33,239 --> 00:48:36,519
which is large learning models like you know, chat, EPT

937
00:48:36,679 --> 00:48:40,599
and others, that suck up all this information. Okay, it

938
00:48:40,679 --> 00:48:45,719
is well to understood that lms thrive on high quality data.

939
00:48:45,880 --> 00:48:50,719
We have the largest collection of books, papers, magazines, et

940
00:48:50,840 --> 00:48:53,880
cetera in the world, which are some of the highest

941
00:48:54,000 --> 00:48:59,960
quality text sources. Unquote. According to the same site, Anna's Archives,

942
00:49:00,000 --> 00:49:04,320
I've promptly put out the metadata and with three hundred

943
00:49:04,480 --> 00:49:09,320
terabytes worth of audio files, releasing an order of popularity.

944
00:49:10,480 --> 00:49:13,599
In other words, the full extent of the episode's fallout

945
00:49:13,719 --> 00:49:18,880
remains to be seen. And as initially mentioned, Spotify confirmed

946
00:49:18,920 --> 00:49:22,079
the unauthorized access, but not where things go from here

947
00:49:22,599 --> 00:49:27,079
in a detailed light. In a detail light statement, Yeah,

948
00:49:27,079 --> 00:49:30,039
they didn't really say much. The Spotify spokesperson said, quote,

949
00:49:30,199 --> 00:49:34,639
an investigation into author unauthorized access identified that a third

950
00:49:34,639 --> 00:49:39,639
party scraped public metadata and used illicit tactics to circumvent

951
00:49:39,760 --> 00:49:43,599
DRM to access some of the platform's audio files. We

952
00:49:43,679 --> 00:49:49,199
are actively investigating the incident unquote. And again, as I

953
00:49:49,239 --> 00:49:53,840
pointed out earlier, what is missing from that statement nothing

954
00:49:56,039 --> 00:50:02,760
about how we will prevent this from happening. Again, I

955
00:50:02,800 --> 00:50:06,000
think that's very interesting. One more thing a radio more

956
00:50:06,039 --> 00:50:08,360
of a radio specific thing. But this is also from

957
00:50:08,400 --> 00:50:12,159
Digital Musicnews dot com. Hot ninety seven introduces new on

958
00:50:12,239 --> 00:50:16,360
air hosts after abrupt ebro firing New York listeners give

959
00:50:16,400 --> 00:50:19,079
a chili welcome. Now, you might be wondering, depending on

960
00:50:19,119 --> 00:50:20,960
where you are, why do I care about what goes

961
00:50:21,000 --> 00:50:23,639
on at a radio station in New York. Well, I'll

962
00:50:23,639 --> 00:50:26,440
tell you. Hot ninety seven in New York City is

963
00:50:26,599 --> 00:50:32,239
the most powerful, most prominent, respected, elite hip hop station

964
00:50:32,440 --> 00:50:38,280
in the entire country. Hot ninety seven is you know

965
00:50:38,719 --> 00:50:42,039
you're if you're interested in hip hop even even a

966
00:50:42,039 --> 00:50:45,039
little bit, you probably know about Hot ninety seven, and

967
00:50:45,760 --> 00:50:48,639
so they are again the most powerful hip hop station

968
00:50:48,719 --> 00:50:52,960
in the entire country. And Ebro, Now, I did not

969
00:50:53,039 --> 00:50:55,639
preread this. I don't know what happened, but I'm always

970
00:50:56,000 --> 00:50:59,840
very curious what happened to Ebro. I know that he

971
00:51:00,199 --> 00:51:03,079
was very I recognize this picture. I know that he

972
00:51:03,199 --> 00:51:06,519
was a very prominent figure again in hip hop, in

973
00:51:07,119 --> 00:51:11,320
radio in New York. He's a big deal. Let's see

974
00:51:11,320 --> 00:51:13,840
what happened here. So Hot ninety seven introduces a fresh

975
00:51:13,840 --> 00:51:17,400
group of hosts amid the cancelation of Ebro in the Morning,

976
00:51:17,719 --> 00:51:20,599
and New Yorkers aren't too happy about it. On Thursday,

977
00:51:20,760 --> 00:51:23,199
just after announcing the cancelation of Ebro in the Morning,

978
00:51:23,280 --> 00:51:25,320
New York hip hop station Hot ninety seven shared a

979
00:51:25,360 --> 00:51:29,719
promotional image on social media introducing a trio of new hosts.

980
00:51:30,159 --> 00:51:33,639
The posts didn't specify whether the new hosts will take

981
00:51:33,679 --> 00:51:37,039
over the morning show or when their show might launch.

982
00:51:38,920 --> 00:51:45,360
The post introduces Rondell Smith, Lana Harris, and Million, labeling

983
00:51:45,400 --> 00:51:49,920
them as the new Hot ninety seven hosts, alongside a

984
00:51:50,039 --> 00:51:53,519
coming soon banner, but given out quickly. The announcement followed

985
00:51:53,519 --> 00:51:56,239
the cancelation of longtime favorite Ebro in the Morning, which

986
00:51:56,320 --> 00:51:59,920
was hosted by Ebro darden, Laura Styles and Peter Rosenbro

987
00:52:00,280 --> 00:52:04,960
for years. Commenters on Instagram were decidedly unenthusiastic about the news.

988
00:52:05,079 --> 00:52:08,760
By the way, Peter Rosenberg will be familiar to wrestling

989
00:52:08,880 --> 00:52:14,480
fans because he also sometimes he does interviews or sits

990
00:52:14,519 --> 00:52:17,880
on a panel at you know, WWE events, usually during

991
00:52:17,920 --> 00:52:19,440
the pre show you might see him. So if you're

992
00:52:19,480 --> 00:52:22,760
a WWE fan, you've seen Peter Rosenberg at some point,

993
00:52:23,719 --> 00:52:26,960
So you know, Hot ninety seven kind of his or

994
00:52:27,159 --> 00:52:30,679
was his day job. But he also is involved in

995
00:52:30,840 --> 00:52:34,800
WWE as a broadcaster, and you know, and he does

996
00:52:34,840 --> 00:52:36,199
a lot of a lot of interviews, a lot of

997
00:52:36,199 --> 00:52:39,440
YouTube content and so forth. So so he was part

998
00:52:39,519 --> 00:52:45,199
of that team too. So responding to this to the announcement,

999
00:52:45,199 --> 00:52:49,079
one commenter wrote, congratulations, you played yourself. I'll keep listening

1000
00:52:49,159 --> 00:52:52,440
to podcasts unquote. The announcement of new hosts follows a

1001
00:52:52,480 --> 00:52:54,559
lot of shaky ground at the radio station, as the

1002
00:52:54,559 --> 00:52:56,840
cancelation of Ebro in the Morning has sparked a lot

1003
00:52:56,840 --> 00:53:01,440
of debate among fans and industry observd a like Hot

1004
00:53:01,519 --> 00:53:05,360
ninety seven has notably not publicly explained the decision, but

1005
00:53:05,519 --> 00:53:10,360
Ebro Dardin has claimed that his outspoken political views and

1006
00:53:10,440 --> 00:53:16,599
critiques of major institutions may have contributed. Meanwhile, funk Master Flex,

1007
00:53:16,639 --> 00:53:20,480
who briefly filled in during the morning slot after Ebro's departure,

1008
00:53:20,519 --> 00:53:23,519
clarified on social media that it'll still be a while

1009
00:53:23,880 --> 00:53:26,440
before his long term role in mornings will take hold.

1010
00:53:27,239 --> 00:53:30,920
On the former Twitter x, he wrote that while he

1011
00:53:31,000 --> 00:53:34,039
received positive feedback from listeners, his deal for the morning

1012
00:53:34,079 --> 00:53:39,039
show doesn't start until twenty twenty nine. Okay, until then,

1013
00:53:39,079 --> 00:53:43,559
he will remain in his longtime five pm slot. Twenty

1014
00:53:43,599 --> 00:53:45,440
twenty nine, so he has a deal to take over

1015
00:53:45,440 --> 00:53:48,079
the morning show on Hot ninety seven and twenty twenty nine.

1016
00:53:50,199 --> 00:53:51,880
You know what that reminds me of. It reminds me

1017
00:53:51,920 --> 00:53:56,760
of back when when Jay Leno announced his retirement from

1018
00:53:56,800 --> 00:53:58,760
the Tonight Show the first time, or I'm sorry he

1019
00:53:58,760 --> 00:54:02,199
didn't announce his retirement, but NBC was getting ready for

1020
00:54:02,280 --> 00:54:05,239
what they wanted to be a retirement, so they announced

1021
00:54:05,480 --> 00:54:10,159
five years in advance. Five years in advance. They announced

1022
00:54:10,199 --> 00:54:12,280
that Conan O'Brien was going to be taking over the

1023
00:54:12,320 --> 00:54:15,360
Tonight Show in five years, and then of course five

1024
00:54:15,440 --> 00:54:19,400
years came, Conan took over and uh, you know, and

1025
00:54:19,440 --> 00:54:21,719
then it didn't work out and Leno came back, and

1026
00:54:21,960 --> 00:54:24,719
you know, eventually Leno left again and it was Jimmy Fallon.

1027
00:54:25,000 --> 00:54:27,599
But but it just reminds me of that, Like, Okay,

1028
00:54:27,639 --> 00:54:31,119
so it's been established that funk Master Flex has taken

1029
00:54:31,159 --> 00:54:33,440
over the morning show, but not until twenty twenty nine.

1030
00:54:35,480 --> 00:54:38,599
They can't say, hey, Flex, maybe we should revisit this,

1031
00:54:39,719 --> 00:54:42,159
maybe we should have you take over the morning show now, Like,

1032
00:54:42,159 --> 00:54:47,559
what are you doing in other New York related Oh? This,

1033
00:54:47,679 --> 00:54:50,519
some other this? Oh, actually, well this is relevant too

1034
00:54:50,599 --> 00:54:53,199
for people who are interested in politics. This Spart's relevant

1035
00:54:53,480 --> 00:54:56,400
in other New York radio shakeups. Power one oh five

1036
00:54:56,519 --> 00:55:01,280
and iHeartMedia announced last week the extent of their relationship

1037
00:55:01,320 --> 00:55:06,320
with Media mogul and The Breakfast Club host Charlemagne the God. Again,

1038
00:55:06,360 --> 00:55:10,639
if you're interested in politics and political podcasters, you're familiar

1039
00:55:10,639 --> 00:55:13,039
with Charlemagne. I mean, he's not a podcast you know,

1040
00:55:13,639 --> 00:55:18,039
they do politics on his radio show, but you know,

1041
00:55:18,159 --> 00:55:21,000
but he's become a pretty influential guy over the years

1042
00:55:21,000 --> 00:55:24,800
in politics. The multi year agreement will see Charlemagne continue

1043
00:55:24,800 --> 00:55:28,599
his nationally syndicated show on weekdays from six to ten am,

1044
00:55:29,280 --> 00:55:32,000
as well as weekends with the Breakfast Club, alongside co

1045
00:55:32,079 --> 00:55:36,119
host DJ Envy, Jess Hilarious and Lauren L. Rosa. So

1046
00:55:36,639 --> 00:55:38,880
all right, so Charlemagne's not going anywhere, but he's been

1047
00:55:39,000 --> 00:55:43,800
very very successful with his format. I think he originally

1048
00:55:43,880 --> 00:55:45,679
was doing more of a more you know, hip hop,

1049
00:55:45,800 --> 00:55:48,519
you know, years ago, was doing more just interviews with

1050
00:55:49,960 --> 00:55:52,840
other figures in hip hop. But then eventually it became

1051
00:55:53,119 --> 00:55:55,119
I think now it's I mean, I don't listen to

1052
00:55:55,159 --> 00:55:57,280
him all the time. I just you know, see whatever

1053
00:55:57,320 --> 00:55:59,199
I see on YouTube. But it looks like now it's

1054
00:55:59,320 --> 00:56:02,719
pretty much all politics, I think, politics and current events

1055
00:56:02,719 --> 00:56:05,199
that they do. But they've again, they've been very very

1056
00:56:05,239 --> 00:56:10,119
successful with that format. We are approaching the top of

1057
00:56:10,159 --> 00:56:12,280
the hour, so we will begin to wrap up. I

1058
00:56:12,360 --> 00:56:15,039
want to say, first again thank you to everybody who

1059
00:56:15,119 --> 00:56:17,639
joined us today. Of course, we had Baz from the

1060
00:56:17,679 --> 00:56:20,840
band Box of Trash in the first hour. In the

1061
00:56:20,880 --> 00:56:26,360
second hour we had Kate from the Marches, another great band,

1062
00:56:26,559 --> 00:56:28,199
and then of course in the third hour we had

1063
00:56:28,280 --> 00:56:31,800
Lee Wilding talking about his solo project, The Far North,

1064
00:56:31,880 --> 00:56:36,000
and I really enjoyed talking with everybody today. So I've

1065
00:56:36,000 --> 00:56:38,599
had a lot of fun on today's show, and if

1066
00:56:38,639 --> 00:56:41,679
you've been listening, I hope that you have as well.

1067
00:56:42,159 --> 00:56:44,159
I think that to close out, though, I think we

1068
00:56:44,159 --> 00:56:47,760
should play one more song from the Far North. What

1069
00:56:48,039 --> 00:56:48,920
was the song?

1070
00:56:50,679 --> 00:56:50,920
Speaker 5: Hmm?

1071
00:56:53,960 --> 00:56:56,239
Speaker 3: We've got a couple of options here. Well, while I'm

1072
00:56:56,239 --> 00:56:58,840
figuring that out, because I can multitask, I will just

1073
00:56:58,920 --> 00:57:00,960
remind you if you miss any art of today's show,

1074
00:57:02,119 --> 00:57:05,920
you can you can get it, of course, via podcast.

1075
00:57:06,039 --> 00:57:09,159
Go to Wmnhradio dot org or go to my website,

1076
00:57:09,159 --> 00:57:13,280
Matt Coonorton dot com for all your options. On that oh,

1077
00:57:13,320 --> 00:57:15,599
ship of Bones, that was the other one Lee was

1078
00:57:15,599 --> 00:57:19,360
talking about. We'll close out with that one, but so

1079
00:57:19,400 --> 00:57:22,679
I hope you'll do that, And if you want to

1080
00:57:22,719 --> 00:57:25,039
know more too, you know I should mention this January

1081
00:57:25,119 --> 00:57:27,920
is coming a very busy time for someone like me

1082
00:57:27,960 --> 00:57:30,960
who is a certified hypnotherapist. So if you've got New

1083
00:57:31,039 --> 00:57:34,960
Year's resolutions you're concerned with, reach out to me Matt

1084
00:57:34,960 --> 00:57:37,360
Connorton dot com. I can help you. I am a

1085
00:57:37,400 --> 00:57:40,880
certified hypnotherapist and hypnosis is a great way to make

1086
00:57:40,960 --> 00:57:43,719
positive and lasting change. I won't give you a big

1087
00:57:43,760 --> 00:57:47,039
sales pitch. I don't spend money on a sponsorship, so

1088
00:57:48,280 --> 00:57:49,960
I don't want to turn my show into a into

1089
00:57:50,000 --> 00:57:52,760
an infomercial. But I'll I'll just throw that out there.

1090
00:57:52,920 --> 00:57:57,639
January is coming. January is for hypnotherapists like Christmas is

1091
00:57:57,719 --> 00:58:01,599
for retailers. It's a very very busy time. So uh,

1092
00:58:01,920 --> 00:58:04,559
Matt Conorton dot com. You can reach me through the website.

1093
00:58:04,719 --> 00:58:08,199
And on that note, uh, we will conclude this week's

1094
00:58:08,199 --> 00:58:11,599
Matt Condorton Unleashed again. Thank you everyone so much, and uh,

1095
00:58:11,840 --> 00:58:14,920
to close out, we're gonna play this song, Ship of Bones.

1096
00:58:15,000 --> 00:58:17,239
This is the other song that Lee Wilding was talking about,

1097
00:58:17,679 --> 00:58:19,920
and uh, we'll close out with this and again this

1098
00:58:20,000 --> 00:58:22,320
is the Far North. And thank you all so much.

1099
00:58:35,280 --> 00:58:37,239
Speaker 6: You know I need you, know.

1100
00:58:38,719 --> 00:58:40,559
Speaker 2: Like I always did.

1101
00:58:41,800 --> 00:58:42,519
Speaker 6: You know I.

1102
00:58:42,400 --> 00:58:46,079
Speaker 2: Won't you love bring God upon me.

1103
00:58:48,199 --> 00:58:53,760
Speaker 4: Because in Tim's all pay, Oh dear Sree, pay.

1104
00:58:55,119 --> 00:58:58,920
Speaker 5: You help me just like you want me.

1105
00:59:02,639 --> 00:59:08,920
Speaker 2: Drove down your love to the storm, into the storm,

1106
00:59:09,360 --> 00:59:14,920
and to my arms from storm. I keep you wall

1107
00:59:15,599 --> 00:59:18,519
from storm, I keep you warm.

1108
00:59:24,360 --> 00:59:30,960
Speaker 6: Until save the spot.

1109
00:59:33,800 --> 00:59:34,599
Speaker 2: Without the

1110
00:59:38,679 --> 00:59:47,599
Speaker 5: Sapper, without you