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Speaker 1: W M n H will rip the knob off.

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Speaker 2: You are listening to Double M and H World Premiere.

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Speaker 3: What's that sound?

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Speaker 4: What's that sound?

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Speaker 1: Get out my way?

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Speaker 5: Al burns down, maxy, scream and shout and out turn

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this town around, stop and look this way. I made

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some insufficious What I see is what I say, And

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this is a travesty. The earth is trying to now

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and you don't see the tragedy. It's all blurring all

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it's one and die is a blinded. We think it's typical,

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but that's just cause it's so shallow.

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Speaker 4: My dad, what's that sound?

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Speaker 3: What's that sound?

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Speaker 6: Get out my way?

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Speaker 5: Ou burns down, maxy and scream and shout and out

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turn this town round, Pee everywhere, pivot your parts and

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nurture ant care for this world of us. I believe

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the earth will no longer fall apart.

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Speaker 3: We can do little. Back to Cather.

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Speaker 5: And find a piece of less forever.

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Speaker 3: What's it sound? What's it sound? Down my way?

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Speaker 5: I burns down, mixie and scream.

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Speaker 6: And show pan outs on this town round?

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Speaker 3: What's it sound?

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Speaker 6: What's it sound?

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Speaker 3: Down my way?

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Speaker 5: I burns down, mixie and scream and shout, pan out

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on this town around?

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Speaker 3: What's it turn the town around?

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Speaker 5: What's it sounds?

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Speaker 3: It sound?

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Speaker 4: What's up?

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Speaker 3: But I'm away?

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Speaker 5: I burnt down MIXI scream and shot and I'll.

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Speaker 6: Turn this town around.

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Speaker 7: What's it sound?

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Speaker 8: What's it sound?

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Speaker 3: My way?

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Speaker 5: I burns down on Psy scream and shot and I'll.

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Speaker 4: Turn this town roun.

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Speaker 2: You are listening to.

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Speaker 1: W M and H World Premiere.

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Speaker 3: Yeah, I told my heart go ahead and break.

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Speaker 4: So God love.

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Speaker 3: For goodness me? Yeah, I just about.

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Speaker 1: Died all four feet.

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Speaker 3: So I told my heart go ahead and break.

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Speaker 9: Yeah, limiss to see you told me so.

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Speaker 3: I learned. Thanks. I wish I didn't know.

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Speaker 10: Yeah, it looked so good until it warns that hurts

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spat yet is so burned.

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Speaker 4: Shy.

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Speaker 3: I told my heart go ahead and break. So about

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the love for goodness? Sake you spoul died? Oh four

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feet so I told my heart go ahead and break.

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It was like a dream.

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Speaker 11: Sure was so beautiful, so full of life.

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Speaker 3: It was wonderful. Then came the day when she did

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he leaves. Man, it broke me up like you would

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not believe. That's why I told my heart go ahead

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and break. It's all about the love for goodness. Sake.

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Speaker 9: Yeah, just about that all for faith. So I told

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my heart your head and break, yeah, go.

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Speaker 12: On, break, go on, and cried, y'all cat broken.

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Speaker 3: And I don't know why.

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Speaker 1: Some time we get more than me can take.

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Speaker 3: That's why I told my heart go ahead, brain.

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Speaker 4: Yeah.

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Speaker 3: I told myself go ahead and cry.

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Speaker 9: Let the tears fall of your eyes.

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Speaker 4: Why then once told.

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Speaker 12: Me everybody lies. That's why I told myself go ahead

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and cry. And I told my heart go ahead, break.

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Speaker 13: So I told my heart, gor head, brave, go ahead.

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Speaker 14: It's so good. Another world radio premiere here at WU

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m n H ninety five point three FM on Matt

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Connorton Unleashed. That is go ahead and break. That is

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the Murphy Clark Band. Guys, Okay, right out of the gate.

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What's the correct way to say?

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Speaker 2: Is it?

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Speaker 14: Do I say Murphy Clark or is it the Murphy

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Clark Band?

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Speaker 2: Yes, either one is fine. They are whatever you want

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to call it, Murphy Clark.

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Speaker 14: Okay. So Jenny and I are joined live in studio

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by of course, Brian Murphy. Brian Murphy and Mike Clark.

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Is probably not Murphy, right, because then it would be

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the Murphy Clark right, Brian Murphy and Mike Clark. You're

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in studio and uh I love that track and of

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course as you as you witnessed, I could not help

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but sing along with it. And that's how you know

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you've got something right on the point, right, Yeah, when

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you when you play something for somebody and they can't

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help it sing along like it's not even like it's

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not like, oh I think I'll sing along to this.

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It's just an involved and terry motion, you know.

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Speaker 4: Yeah.

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Speaker 2: Yeah, that's who we hope for.

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Speaker 14: Absolutely, and we'll play some more of your stuff as

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we as we go along. But it's great to have

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you guys here.

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Speaker 15: For having us and thank you for doing this. Oh

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absolutely no local bands need the support.

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Speaker 14: Absolutely absolutely. Well, we love it and there's so much

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you know, Jenny does all the booking and sometimes people

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will ask her, you know, where do you find all

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these great artists and.

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Speaker 15: It's so much talent around here. Absolutely, you know it's incredible.

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You just use the word yeah, yeah, I looked it

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up this morning. Don't ask me to spell it though.

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Speaker 2: There is a great word, yes, yes, hell does it

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mean a lot of pu yeah, you know. Sometimes Brian

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needs help.

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Speaker 14: Yeah, well, we all need help something for sure. Yeah, yeah, no,

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I love it. You guys have a great sound. I

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feel like kind of the secret weapon is the vocals

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and the harmonies and everything is. And how long has

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this project existed? Have you guys been at the a

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while or is this new.

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Speaker 2: Or we've been collaborating for about thirty years? I think

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we started.

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Speaker 15: Working a while. Yeah, we started. You weren't even born, Matt,

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I think.

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Speaker 14: Oh my goodness, I probably I probably was, But.

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Speaker 16: Yeah, you know we started, you know, way back in

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the day, in the mid nineties, I was I was

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recording with Aquatanang was the name of the band. We

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were with Sony and Manhattan back in the big record days,

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no kidding, and uh, you know, we we worked there

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and then I wanted to find somebody local, so I

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did a session with Mike and I really liked the

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way he mixed, okay, and so we started working back then.

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He started running sound for us with Aquatanang and then

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started doing records together. You know, at that point we've

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been doing him ever since.

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Speaker 2: Okay, Okay, that was in a bridge version. I sped

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it up a little bit, so, but yeah, that's that's

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how it's you know, and a bit more from there.

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Speaker 15: Okay, yeah, okay, people change, you know, members changed, and

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the sound of the band changed. We went we're all

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electric now. Yeah that Aquatang was all acoustics. Ohkid, yeah yeah,

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so folks Dylan did it, We figured we could do it.

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Speaker 2: Yeah.

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Speaker 16: Yeah, so that actually because before, you know, after Aquatanang,

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well with Aquatanang, Mike started to do percussion for us

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and work his way in. And then after that we

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decided to start a different project of the first iteration

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of Murphy Clark, which was Americana, right bass. I played

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the mandola.

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Speaker 2: Oh no kidding, Yeah, And we did that I think

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like twelve years until COVID hit. Yeah, and then that

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wiped everything. Yeah yeah, yeah.

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Speaker 16: Our our guitar player had like fourteen kids and yeah,

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and so we so then, uh, Mike's always wanted to

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go electric anyway, the acoustic thing was my thing. So yeah,

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you know, during the pandemic when we had the shutdown,

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it was just he and I and we sort of

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broke the rules and I kept going into the studio

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and we just started doing studio stuff and I.

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Speaker 15: Kept handing him an electric See I'm in a rocker

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from way back when nothing wrong with acoustic stuff.

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Speaker 16: So he kept saying, you know, so I took a

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couple of years and you know, got comfortable with the

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electric guitar, and yeah, now we we have a new format,

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uh with you know. But some of the like the

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female vocals h Marion and Cindy have been with us

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of course since the awkward.

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Speaker 13: O.

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Speaker 16: So four of us have been together since all that time.

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And now we have Gary Young who's a world class

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lead guitar player. He does a wonderful job is on

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the guitar now, Jeff Harrington on.

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Speaker 2: Drums, who owns Indy Music. He owns c Indy Music.

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Speaker 15: And Amherst Oh put a little bitcher there, yeah yeah, yeah, okay.

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Speaker 2: I teach voice there, voice teacher there. Yeah. Oh actually

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yeah we love it. Yeah yeah, music all the time.

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Speaker 14: No, that's great.

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Speaker 2: Yeah, that's great. Yeah, that's tremendous, you know.

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Speaker 16: I mean and as a songwriter too, and you know,

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doing music to accompany other singers with every kind of

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song you can think of, it really helps you see

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chord progressions, melodies, all kinds of things like that.

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Speaker 2: Yeah, so it gives you a real heightened.

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Speaker 16: Understanding of songs and music and all that, you know,

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and you just never know what you're going to get,

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everything from Taylor Swift to like Granddaddy sure whatever, you know. Yeah,

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so yeah, that's so it's been great.

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Speaker 14: And so you guys have worked together pretty consistently then

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over the decades. Yeah, that's amazing. Yeah, you don't see

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that a lot. I mean, you know, we have sometimes

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a lot of bands on the show that people who

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have worked together for a long time, but they've worked together,

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but then not work together for a long time and

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then kind of reunited. But it sounds like you guys

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have been pretty consistent.

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Speaker 2: Yeah. We have over one hundred and fifty published songs.

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Speaker 15: Actually, oh my god, wown Yeah two of them.

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Speaker 14: Yeah kidding. Now, what's the what's the live situation? Like,

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do you guys play out a lot or what's u.

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Speaker 2: We're getting there? Yeah, we're kind of studio rats.

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Speaker 15: But you know, we we played a few shows being

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into the Air and we're getting our show together and

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we have some booked towards the end of the season,

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end of the summer.

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Speaker 16: Yeah, one in Mount Vernon on the twenty third, okay,

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in the town Square in mont Vernon.

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Speaker 2: Oh, excellent, July twenty third, and that's at six.

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Speaker 16: And then we have two shows in August, one at

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the Prayers of Nature the listening room there.

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Speaker 2: Oh yes, you've got it right here. Oh yeah, what's

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that show?

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Speaker 14: Yeah yeah, she's brought two or three times.

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Speaker 2: A big supporter of local music. I love that.

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Speaker 16: Absolutely, Like you dedicated and devoted to musicians, and we

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honor that.

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Speaker 2: That's a great thing. Yeah, what I mean?

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Speaker 16: And so and then if the that's the August eighth,

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we're there and I think.

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Speaker 2: It's Andre's Institute.

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Speaker 16: Yeah, that's the twenty fourth. Okay, that's it in Brookline.

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That's a really nice room too.

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Speaker 15: There it used to be an old club called the

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Big Beer like seventies. I used to play there and

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there in the seventies.

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Speaker 2: Oh wow. Yeah.

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Speaker 15: And they reopened at the Art Institute part in. It's

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an amazing room. Oh cool, yeah, great. What's it called

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the Andres Institute. It used to be the Big Beer

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a lounge okay, like long time ago?

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Speaker 2: Yeah yeah.

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Speaker 14: What is so from from the perspective of you guys,

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what what has changed about? And this is something that

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comes up on the show a lot. What is what

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has changed over the years? As far as making music

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and and promoting music, and.

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Speaker 2: Don't get me going on that.

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Speaker 15: I guess my studio has been opened for forty years.

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Speaker 14: Okay, so I'm really curious to get your perspective. Yeah,

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because everything's you know, obviously, the Internet changed everything.

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Speaker 2: I mean when we started making records, we were using tape. Yeah.

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Speaker 14: Yeah.

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Speaker 15: Our editing capabilities was the race of blade and some

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splicing tape. Yeah, you know, so it's changed so much. Yeah,

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you know, Yeah, it's easy to make records.

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Speaker 14: Yeah.

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Speaker 15: I mean Billie Eilish want five Grammys off something she

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made in her bedroom.

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Speaker 2: Yep. You know.

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Speaker 15: So it's just everything's changed in the music business. Yeah,

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some good things, some bad things, right.

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Speaker 14: Right, Yeah, I think I think overall it's for the better.

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Speaker 2: Right.

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Speaker 17: Oh.

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Speaker 2: Absolutely, you know I love digital.

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Speaker 14: Yeah.

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Speaker 2: You couldn't pay me to go back to tape.

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Speaker 15: I used to teach audio engineering at a tech school

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and all the kids would be like, I'm going to

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open a studio and do analog tape. And I was like, dudes,

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you've never touched a piece of tape. You don't want

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to do that. You don't want to.

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Speaker 2: Go back there.

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Speaker 16: Yeah, you certainly don't want to go back to a dats.

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Speaker 2: Yeah.

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Speaker 14: Yeah, when I was a kid, I actually remember a

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friend of mine had a reel to reel tape and

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I remember, you know, trying to. Of course I screwed

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it all up, but I remember trying to like shoee,

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and yeah it was fun.

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Speaker 15: Yeah, you know, I kind of appreciate those years though,

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because you know, I learned my skill from sort of

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the prehistoric way of recording to what it is now.

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Speaker 16: And yeah, well I think it's really enhanced you mixing ability,

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you know what I mean, Like because in those days,

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you know, when you go into the studio, you had

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to rebuild the mix.

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Speaker 2: Yeah, you have total recall.

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Speaker 16: So now everything pops up where you left it, which

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I love, you know what I mean. But he used

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to have to rebuild the mix from scratch all day.

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Speaker 2: So that's really good for you.

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Speaker 15: Bring up, bring up the bass, you know, so you're

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doing that all day long, and the modern engineers don't

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have to do that.

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Speaker 2: Boom it's back, you know.

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Speaker 14: Right yeah.

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Speaker 2: Yeah, And the audience has changed too, you know what

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I mean.

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Speaker 16: People have a lot more you know, like if like

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the nineties were kind of a golden age, right, you know,

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people bought eight CDs, you know, they bought CDs at

293
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your show or whatever like that. They listen to the

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CDs all the tracks, you know. Now it's different. People

295
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have a lot more entertainment options, you know. So music

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isn't king like it used to be, you know what

297
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I mean. But but I love the new format because

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you know, we get paid. You can get played all

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over the world, you know what I mean. I get

300
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royalty checks from ask Cap and Albania and things like that,

301
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you know, play we get played all over the world,

302
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you know, which is very interesting.

303
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Speaker 15: Yeah, oh yeah, you don't have to get into the

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record in the six store anymore.

305
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Speaker 16: Right right, yeah, And if you didn't sell somebody your record,

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they didn't have it.

307
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Speaker 2: Now, you know, It's which I love.

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Speaker 16: You know, you get played on YouTube, you get played

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on Spotify, which all our music get played here?

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Speaker 2: Yeah yeah, yeah.

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Speaker 14: Well also, you know, from the perspective, we were talking

312
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about this earlier because we had on our first guests

313
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were from Ireland Moonlight Eclips and you know, obviously that

314
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wouldn't have happened pre Internet, right, you know, unless they

315
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were already famous. Right, But but doing this show too,

316
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you know, we were obviously we're in Manchester, New Hampshire

317
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at this this beautiful radio station WM and H beautiful.

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But we have listeners all over the world and you know,

319
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we have people who listening from Ireland in the in

320
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the chat room and and uh amazing. You know, it's

321
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the ability to to connect with with people globally is

322
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is just fantastic. And music is you know, the the

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international language anyway, So you know, it's wonderful as far

324
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as doing something like this and and what like what

325
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are because Mike you you alluded to some somethings something's

326
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for the.

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Speaker 2: Better right over all? But absolutely, well what have what have?

328
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Speaker 14: What have we? Is there something we've lost along the

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way with I.

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Speaker 15: Think we've lost a lot of the soul in our music,

331
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you know, because you know, and I'm not putt we

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use computers and samples and you know, we integrate them

333
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with real playing.

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Speaker 2: But a lot of.

335
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Speaker 15: It's it seems like soulless to me, it's too much,

336
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too mechanical. Sometimes Okay, I don't know, you know, because.

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Speaker 16: Mostly you know a lot of it is pre existing tracks.

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You know, people are dragging and dropping. Yeah, and the

339
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level of musicianship is different. Right, If you're dragging in

340
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all your track your tracks and dropping them and then

341
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singing something over it, it's not the same thing as

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people sitting over a piano or over a guitar, bent

343
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over there for years learning how to play.

344
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Speaker 2: And all that music. It's going through them, through their heart,

345
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their soul, their their mind.

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Speaker 14: Yeah.

347
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Speaker 16: If you drag and drop stuff, you drag it, you

348
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you and then sing over it, it's not it's not

349
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going through you, and it's not a development.

350
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Speaker 2: And of course AI is going to push that narrative

351
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even more.

352
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Speaker 14: Oh yeah, you know it already. Yeah, it already is

353
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absolutely souno dot com. We've used that on the show.

354
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Speaker 2: It's incredible.

355
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Speaker 13: It is.

356
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Speaker 2: The recording sounds amazing.

357
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Speaker 15: I know they're formulaic because it's machine learning, but yeah,

358
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you know, if you ask it to do a country song,

359
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it sounds like modern country.

360
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Speaker 14: It does.

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Speaker 2: It's incredible.

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Speaker 14: Yeah, you know, yeah, yeah, we tried it on. Uh,

363
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we did kind of a live demonstration of it on

364
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the show, because we talk about that a lot of

365
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on the show AI and the effect of it on

366
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the music industry, and so we Uh, it was something

367
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I'd kind of had in my back pocket for for

368
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a long time. An idea. You know, sometime when we

369
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have a segment, maybe a guest cancels or something. You know,

370
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there's always things going on in the music industry, so

371
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there's always things to talk about. So I was like,

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you know, let's let's try uh, let's try this. We'll

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make a song using SUNO and just see what happens.

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Speaker 2: Its kind of fun lyrics for it.

375
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Speaker 1: Oh.

376
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Speaker 14: We Well, what we did was, you know, we just

377
00:19:05,240 --> 00:19:07,839
put in a bunch of prompts, you know, and and

378
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see what it spits out right. And Jenny and I

379
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both you know, we we uh just sat here kind

380
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of gobsmacked, like, wow, this is even better than we

381
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would have expected.

382
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Speaker 2: Yeah.

383
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Speaker 16: No, I feel like, I mean, it's John Henry's style

384
00:19:21,960 --> 00:19:26,720
battle with A. I you know, call what I use RI. I. Yeah,

385
00:19:26,759 --> 00:19:28,799
we used a lot of A on my studio though.

386
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Speaker 15: You know, it's incredible tools to like check tonal balance

387
00:19:32,400 --> 00:19:36,599
on or you know, you know, remove noise or anything

388
00:19:36,640 --> 00:19:38,680
like that. It's great tools for it, you know.

389
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Speaker 14: Yeah. Yeah, but absolutely yeah. And I assume so everything

390
00:19:42,880 --> 00:19:44,880
you guys have done is recorded there, I assume, right.

391
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Speaker 15: Yeah, yeah, yeah, creative my studio, Yeah, yeah, yeah, no.

392
00:19:48,799 --> 00:19:53,519
Speaker 14: It sounds it sounds fantastic. Oh thanks, where's your studio? It'shers?

393
00:19:53,799 --> 00:19:57,039
Speaker 2: Yeah, yeah, what's it called Clock Creative, Clark Creative.

394
00:19:57,440 --> 00:20:00,440
Speaker 15: Yeah, and I've been there. I'm celebrating my fortieth niversary.

395
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Speaker 2: Congratulations. Yeah, yeah, that's awesome.

396
00:20:03,400 --> 00:20:06,880
Speaker 15: Could argue be the longest running commercial studio in New England.

397
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I don't know, it's a long time.

398
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Speaker 14: You know what's interesting about that is.

399
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Speaker 1: People.

400
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Speaker 14: One of the things I find that's interesting about getting

401
00:20:19,039 --> 00:20:23,240
older is just seeing like what technologies change, what technologies

402
00:20:23,279 --> 00:20:28,160
go away, what technologies stick around, but also sometimes what

403
00:20:28,599 --> 00:20:32,359
people thought was going to change but doesn't change. And

404
00:20:32,480 --> 00:20:35,799
one of the things that has not changed as much

405
00:20:36,160 --> 00:20:39,240
is recording in terms of there's still a lot of

406
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really good recording studios around. Like you're obviously still thriving.

407
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You're celebrating forty years at Clark Creating.

408
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Speaker 2: Yeah.

409
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Speaker 14: And the reason I bring that up is because you know,

410
00:20:48,319 --> 00:20:51,039
that's one of the things people predicted with the advent

411
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of home recording and then all the technology that we have.

412
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Speaker 15: Now see a lot of bands integrate that with me though,

413
00:20:58,599 --> 00:21:00,960
like the band you're having on next Yeah, they'll come

414
00:21:00,960 --> 00:21:03,920
in and do their drum tracks with me or their

415
00:21:04,000 --> 00:21:07,160
rhythm section. They'll take it home, bring the files home

416
00:21:07,200 --> 00:21:09,559
and do all the close micing stuff like the vocals

417
00:21:09,960 --> 00:21:14,079
guitars because a lot of people use modeling now for guitars. Yeah,

418
00:21:14,160 --> 00:21:16,039
and then they bring back to me for mixing. So

419
00:21:16,319 --> 00:21:19,759
you know, you know, you can run away from it,

420
00:21:19,839 --> 00:21:22,400
but you have to learn how to integrate that into

421
00:21:22,440 --> 00:21:23,759
your business.

422
00:21:23,480 --> 00:21:26,519
Speaker 14: Right right. Yeah. Yeah, So in your experience over the

423
00:21:26,559 --> 00:21:30,000
past forty well in more recent years with all this technology,

424
00:21:30,039 --> 00:21:31,599
are you still as busy as ever?

425
00:21:31,880 --> 00:21:34,079
Speaker 2: Oh yeah, yeah, yeah, that's wonderful.

426
00:21:34,079 --> 00:21:35,839
Speaker 15: And I do some commercial stuff too, like I do

427
00:21:35,920 --> 00:21:39,920
all the podcasts for Business New Hampshire magazine. Yeah, and

428
00:21:40,039 --> 00:21:42,759
I work for this big company called the Pilot Workshops,

429
00:21:42,960 --> 00:21:44,279
the pay site for pilots.

430
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Speaker 2: They teach them how to not crash their plan.

431
00:21:46,240 --> 00:21:46,880
Speaker 14: Oh no, kidding.

432
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Speaker 15: So you know I do some of that stuff too,

433
00:21:49,599 --> 00:21:53,880
which I enjoy. Yeah, yeah, you know, but yeah, super busy.

434
00:21:54,079 --> 00:21:54,759
Speaker 14: Yeah yeah.

435
00:21:54,799 --> 00:21:57,880
Speaker 16: Well, and I think like the home recording is a

436
00:21:58,680 --> 00:22:01,079
bit of a trap for musicians too, because you get

437
00:22:01,119 --> 00:22:05,759
bogged down in the in the engineering, right, so you know,

438
00:22:07,200 --> 00:22:10,079
and it takes away from the creative process you're you know,

439
00:22:10,119 --> 00:22:12,880
you're you're not focusing on your song and your performance.

440
00:22:12,960 --> 00:22:16,960
You're don't you gets compressive impressors, reverbs, eques, you know.

441
00:22:17,319 --> 00:22:21,720
So I recommend to songwriters to get your eyes ideas

442
00:22:21,759 --> 00:22:24,839
down right and get a sketch of it and then

443
00:22:24,920 --> 00:22:28,440
take it to the studio and do it in the studio, right,

444
00:22:28,519 --> 00:22:31,440
you know what I mean, and use the tools that

445
00:22:31,480 --> 00:22:33,440
you have with the home recording, but don't get bogged

446
00:22:33,480 --> 00:22:36,240
down at like so many people just get hung up

447
00:22:36,240 --> 00:22:39,160
on the technicalities, and you know, you need an engineer

448
00:22:39,240 --> 00:22:40,440
to engineer that, you know.

449
00:22:40,759 --> 00:22:44,640
Speaker 14: Yeah, yeah, Also a lot of times too, uh, you know,

450
00:22:44,880 --> 00:22:49,759
someone an engineer might become a producer, a de facto producer, right,

451
00:22:49,880 --> 00:22:50,480
you know you.

452
00:22:50,480 --> 00:22:52,039
Speaker 2: Kind of have to wear both those hats at the

453
00:22:52,079 --> 00:22:53,720
level where you work at. Yeah, you know.

454
00:22:53,960 --> 00:22:57,759
Speaker 15: Yeah, very few bands can afford a producer or even

455
00:22:57,799 --> 00:23:00,000
trust a producer with their music. You have to trust

456
00:23:00,119 --> 00:23:03,680
the guy that's making the decisions on your tracks, which

457
00:23:03,720 --> 00:23:06,319
is a lot of times bands don't want to relinquish

458
00:23:06,400 --> 00:23:10,480
that control, of course I get that, Yeah, but you know,

459
00:23:10,519 --> 00:23:13,240
once you get a rapport with the artists, they trust

460
00:23:13,279 --> 00:23:15,799
you to kind of put your two cents in on

461
00:23:16,079 --> 00:23:17,839
you know, the arrangements or whatnot.

462
00:23:17,680 --> 00:23:18,079
Speaker 14: Of course.

463
00:23:18,279 --> 00:23:20,640
Speaker 2: Yeah, yeah, who is it that we have on next week?

464
00:23:20,640 --> 00:23:21,480
Speaker 14: Who's recording with you?

465
00:23:21,559 --> 00:23:21,680
Speaker 3: Now?

466
00:23:22,000 --> 00:23:24,240
Speaker 2: What do they call Parental Eye or something?

467
00:23:24,240 --> 00:23:27,079
Speaker 15: It's Jake Young? Oh, yes, yes, I always can't remember

468
00:23:27,119 --> 00:23:29,359
the name of their band. I can't pronounce the first.

469
00:23:29,279 --> 00:23:31,200
Speaker 14: Well, that's the thing. Yeah, I think. I think even

470
00:23:31,200 --> 00:23:33,559
when he was here, he he even said, uh yeah,

471
00:23:33,880 --> 00:23:36,079
because he was here and the Youngs and even said, yeah, no,

472
00:23:36,119 --> 00:23:37,839
one can pronounce the name of this other project.

473
00:23:38,440 --> 00:23:41,880
Speaker 2: I can't do it. We did Aquatang. Don't do it, guys,

474
00:23:43,240 --> 00:23:43,759
pretty easy.

475
00:23:45,920 --> 00:23:49,319
Speaker 14: I'm curious about Aquatinang. So you were were you were

476
00:23:49,400 --> 00:23:51,119
signed to a major?

477
00:23:51,319 --> 00:23:52,039
Speaker 2: We were.

478
00:23:52,960 --> 00:23:56,039
Speaker 16: We were at Sony in Manhattan. We never actually got signed.

479
00:23:56,039 --> 00:23:58,039
We were brought in there as like a spec project.

480
00:23:58,119 --> 00:23:59,839
Oh really okay, and we worked.

481
00:24:00,400 --> 00:24:00,960
Speaker 2: It was great.

482
00:24:01,000 --> 00:24:03,000
Speaker 16: I mean we were down in Sony in the nineties.

483
00:24:03,000 --> 00:24:05,880
It was amazing the music going on, you know, like, yeah,

484
00:24:05,880 --> 00:24:07,960
one of the times we were there, we were doing

485
00:24:08,000 --> 00:24:12,400
a session and the engineer came in and said, we

486
00:24:12,440 --> 00:24:14,359
all have to get out of here because Michael's here.

487
00:24:14,400 --> 00:24:18,720
Speaker 15: And I said, Michael, who it wasn't me my reason

488
00:24:18,759 --> 00:24:22,440
to leave? And they said Michael Jackson. And so Michael

489
00:24:22,559 --> 00:24:26,880
Jackson came in with like his twenty twenty people strong

490
00:24:27,079 --> 00:24:31,079
code really yeah yeah, and they just he wanted everyone

491
00:24:31,119 --> 00:24:33,920
else out the boots. So yeah, yeah, thanks Michael.

492
00:24:34,119 --> 00:24:34,799
Speaker 14: Oh that's fine.

493
00:24:34,920 --> 00:24:35,880
Speaker 2: I'm alive and you're not.

494
00:24:36,119 --> 00:24:37,519
Speaker 14: That's well, that's true.

495
00:24:39,720 --> 00:24:44,200
Speaker 2: No, but but that's it was. It was amazing. Yeah,

496
00:24:44,240 --> 00:24:45,319
it was amazing and.

497
00:24:45,799 --> 00:24:49,599
Speaker 16: But but but Mike's Mike's a better engineer than anybody

498
00:24:49,599 --> 00:24:50,440
down in Sony though.

499
00:24:50,559 --> 00:24:53,160
Speaker 2: That's for sure. Here you go. Wow, yeah, yeah, I

500
00:24:53,160 --> 00:24:55,279
don't want to borrow money or something, Yes, I do.

501
00:24:55,400 --> 00:24:56,960
I don't have any I guess that was pretty sure.

502
00:24:57,160 --> 00:25:01,319
Speaker 14: Parents, Well, he won't be b borrowing any money from

503
00:25:01,319 --> 00:25:06,200
Michael Jackson's estate, so, you know, apparently, so you know, I.

504
00:25:06,160 --> 00:25:09,119
Speaker 2: Mean Ozzie was down there. I peed next to jay Z,

505
00:25:10,319 --> 00:25:12,240
Jay next to jay Z. Yeah.

506
00:25:12,359 --> 00:25:12,759
Speaker 3: Oh wow.

507
00:25:13,000 --> 00:25:13,880
Speaker 2: That's the one thing.

508
00:25:13,920 --> 00:25:16,920
Speaker 15: It wasn't r Kelly. It might be a different, yeah scenario,

509
00:25:17,480 --> 00:25:18,359
Jasey didn't pay.

510
00:25:18,359 --> 00:25:21,359
Speaker 14: No kidding me. Well, actually some of the allegations against

511
00:25:21,440 --> 00:25:24,759
jay Z, now that that might you know crazy, Yeah, yeah,

512
00:25:24,960 --> 00:25:26,759
that could have been risky.

513
00:25:27,440 --> 00:25:29,160
Speaker 2: You know, he had no interest in me.

514
00:25:29,119 --> 00:25:33,920
Speaker 14: Apparently, I hope none of that's true because ninety nine

515
00:25:33,920 --> 00:25:36,680
Problems is like my favorite hip hop song of all time. Yeah,

516
00:25:36,680 --> 00:25:37,720
I hope none of that's true.

517
00:25:37,720 --> 00:25:41,000
Speaker 2: He's still considered the best hip hop artists.

518
00:25:41,000 --> 00:25:43,720
Speaker 14: Oh yeah, I love jay Z, so I hope none

519
00:25:43,720 --> 00:25:48,480
of that sounds true. Yeah, but oh boy, we should

520
00:25:48,480 --> 00:25:50,920
play another track. What do you guys, I'll let you pick.

521
00:25:50,960 --> 00:25:53,440
I mean, what would you guys like to h to

522
00:25:53,480 --> 00:25:55,200
feature next of the songs that he's one?

523
00:25:55,799 --> 00:25:57,880
Speaker 2: Sure, it's kind of interesting. There's some horns in it.

524
00:25:58,240 --> 00:25:58,960
Speaker 14: Oh, she's the one.

525
00:25:59,039 --> 00:25:59,240
Speaker 3: Yeah?

526
00:25:59,279 --> 00:26:02,559
Speaker 14: Yeah, okay, now who's who's playing the horns on this?

527
00:26:03,559 --> 00:26:03,640
Speaker 1: Me?

528
00:26:04,160 --> 00:26:06,440
Speaker 2: Yeah? We did on keyboard. Yeah. I used to use

529
00:26:06,519 --> 00:26:08,759
this program called Arcade. It's really cool.

530
00:26:08,799 --> 00:26:11,359
Speaker 15: Like it's a California company, And what they do is

531
00:26:11,400 --> 00:26:14,759
they give you phrases of an instrument, so you kind

532
00:26:14,759 --> 00:26:17,319
of play it yourself, so you pick what you want

533
00:26:17,319 --> 00:26:18,279
to use out of the phrase.

534
00:26:18,839 --> 00:26:19,720
Speaker 2: You develop it that way.

535
00:26:19,759 --> 00:26:22,799
Speaker 15: It's not a loop, so it's there's still some human

536
00:26:22,920 --> 00:26:24,559
interaction with the program.

537
00:26:24,640 --> 00:26:26,839
Speaker 2: Yeah, it's cool, it's cool. Yeah, these are what do

538
00:26:26,880 --> 00:26:27,200
you call them?

539
00:26:27,279 --> 00:26:32,200
Speaker 15: Probably township township horns, yeah, because it's kind of reggae soundings. Okay, cool, Yeah,

540
00:26:32,279 --> 00:26:34,119
they're slightly detuned, you know what I mean?

541
00:26:34,279 --> 00:26:36,599
Speaker 14: Yeah, yeah, yeah, all right, cool. Let's give this a

542
00:26:36,640 --> 00:26:39,000
spand this is She's the one, and this is the

543
00:26:39,039 --> 00:26:48,720
Murphy Clark Band.

544
00:26:46,440 --> 00:27:06,119
Speaker 18: She's the kind of lady you don't want to awake

545
00:27:06,279 --> 00:27:14,279
her while she's sleep, A certain kind of someone you

546
00:27:14,519 --> 00:27:16,960
can tell her about the.

547
00:27:17,000 --> 00:27:25,440
Speaker 19: Company she keep me. Beauty is the goodness of you

548
00:27:25,799 --> 00:27:27,240
one and loves awake.

549
00:27:27,319 --> 00:27:31,319
Speaker 11: Goodness is the beauty one.

550
00:27:31,160 --> 00:27:32,279
Speaker 3: That lights away.

551
00:27:32,839 --> 00:27:40,759
Speaker 20: Oh oh, styles the agent for.

552
00:27:40,920 --> 00:27:45,519
Speaker 1: The wild, and it's been a work.

553
00:27:49,880 --> 00:27:56,240
Speaker 3: She's the one, a certain.

554
00:27:56,000 --> 00:28:05,440
Speaker 11: Kind of flower that God himself has shielded with his hands,

555
00:28:05,480 --> 00:28:09,079
and out of the ashes of a fire.

556
00:28:09,319 --> 00:28:16,920
Speaker 20: Comes up stronger one to stand. And Beauty is the

557
00:28:17,119 --> 00:28:19,599
goodness of you one.

558
00:28:20,000 --> 00:28:23,079
Speaker 3: Love wi. Goodness is the beauty.

559
00:28:24,440 --> 00:28:34,160
Speaker 11: One A light way, a race, a style, easy.

560
00:28:34,359 --> 00:28:44,880
Speaker 1: For one, and it's been working. She's the one.

561
00:28:48,599 --> 00:29:03,720
Speaker 3: She's won till the night, till he break it down.

562
00:29:05,039 --> 00:29:18,000
Speaker 11: I see her like shinun, I see her life.

563
00:29:20,119 --> 00:29:20,480
Speaker 3: Show.

564
00:29:34,960 --> 00:29:40,960
Speaker 7: She's she's young.

565
00:29:42,599 --> 00:29:45,200
Speaker 6: She's the can you lady do.

566
00:29:46,759 --> 00:29:47,920
Speaker 3: To wake up?

567
00:29:49,359 --> 00:29:49,559
Speaker 1: Why?

568
00:29:57,200 --> 00:29:57,400
Speaker 3: Why?

569
00:29:58,200 --> 00:30:35,240
Speaker 7: She's said, hmmm.

570
00:30:17,960 --> 00:30:18,440
Speaker 2: I love that.

571
00:30:18,599 --> 00:30:19,359
Speaker 14: That's a nice sound.

572
00:30:19,440 --> 00:30:21,079
Speaker 2: Yeah, Brian wrote that for Sydney Sweeney.

573
00:30:21,480 --> 00:30:22,119
Speaker 14: I really like that.

574
00:30:23,000 --> 00:30:25,920
Speaker 2: Yeah, yeah, I don't know who Sydney.

575
00:30:26,599 --> 00:30:28,880
Speaker 14: I was gonna I was gonna say, who's Sidney sweeeney?

576
00:30:28,960 --> 00:30:31,720
Speaker 2: What you guys don't get out much, do you.

577
00:30:32,119 --> 00:30:33,960
Speaker 8: I honestly have no idea what he's talking about.

578
00:30:33,960 --> 00:30:37,720
Speaker 14: I feel like I should know. I was gonna say,

579
00:30:37,720 --> 00:30:41,119
I feel like I should know the reference Murphy Clark

580
00:30:41,200 --> 00:30:43,599
band here and uh here in studio with us Brian

581
00:30:43,680 --> 00:30:45,920
Murphy and Mike Clark. You know what I like about that?

582
00:30:46,039 --> 00:30:46,480
Speaker 2: In the mix?

583
00:30:46,599 --> 00:30:52,759
Speaker 14: I like the way the horns are are present, but

584
00:30:52,799 --> 00:30:56,119
they're not like sometimes when you hear horns they're.

585
00:30:56,079 --> 00:30:57,680
Speaker 2: Loud, you know what I mean?

586
00:30:58,160 --> 00:31:01,359
Speaker 14: And though and and I like the where the horns

587
00:31:01,480 --> 00:31:02,200
sit in the mix.

588
00:31:02,519 --> 00:31:04,960
Speaker 15: Well, well, definitely a vocal band, so everything kind of

589
00:31:05,079 --> 00:31:08,079
like goes under the vocals.

590
00:31:07,799 --> 00:31:10,440
Speaker 2: You know. Yeah, yeah, but it's a hook I mean yeah,

591
00:31:10,559 --> 00:31:11,640
it's a hook onto itself.

592
00:31:11,920 --> 00:31:12,119
Speaker 3: Yeah.

593
00:31:12,200 --> 00:31:12,599
Speaker 2: No, I like it.

594
00:31:12,599 --> 00:31:15,920
Speaker 14: It has a lot of texture. Yeah, and the vocals too,

595
00:31:15,960 --> 00:31:18,920
aren't super loud either. It's interesting. But I really like

596
00:31:19,039 --> 00:31:22,119
the mix. Thanks, Yeah, absolutely absolutely that.

597
00:31:22,640 --> 00:31:25,039
Speaker 16: I think that's one of his strong suits Mike, is

598
00:31:25,319 --> 00:31:28,480
his mixing ability. Okay, you know, I think that's really like,

599
00:31:28,720 --> 00:31:31,839
definitely that's what attracted to me in the beginning.

600
00:31:31,680 --> 00:31:35,559
Speaker 2: Of Dashing good look and the hair, Yeah, the hair.

601
00:31:35,960 --> 00:31:37,920
Speaker 8: And he said, you're a vocal teacher, right, yes I am.

602
00:31:38,200 --> 00:31:38,400
Speaker 2: Yeah.

603
00:31:38,480 --> 00:31:40,119
Speaker 8: So do you ever get students that just want to

604
00:31:40,160 --> 00:31:42,279
sing karaoke without killing any animals?

605
00:31:42,839 --> 00:31:43,039
Speaker 3: Yeah?

606
00:31:43,160 --> 00:31:46,640
Speaker 16: I do get I get the karaoke contingent, no doubt,

607
00:31:46,880 --> 00:31:49,200
you know what I mean? Yeah, but yeah, and that's

608
00:31:49,200 --> 00:31:51,480
the beauty of it. I have singers across the spectrum,

609
00:31:51,559 --> 00:31:52,720
you know, I really love doing that.

610
00:31:53,519 --> 00:31:54,160
Speaker 2: I love doing that.

611
00:31:54,319 --> 00:31:57,519
Speaker 14: Do you do you ever This might be a strange question,

612
00:31:57,640 --> 00:31:59,440
but do you ever have to kind of turn away

613
00:31:59,440 --> 00:32:01,839
anybody like, like, do you ever have you ever had

614
00:32:01,880 --> 00:32:05,160
a student who you just kind of feel like how

615
00:32:05,200 --> 00:32:06,240
they're not going to get this?

616
00:32:07,559 --> 00:32:07,759
Speaker 2: Well?

617
00:32:08,440 --> 00:32:13,240
Speaker 16: Typically not, because you know, everyone can get better as

618
00:32:13,279 --> 00:32:15,680
long as they're not, you know, tone deaf.

619
00:32:15,839 --> 00:32:15,960
Speaker 2: Right.

620
00:32:16,279 --> 00:32:19,079
Speaker 16: Yeah, there's a difference between being tone deaf and being

621
00:32:19,160 --> 00:32:19,920
pitched deficient.

622
00:32:20,440 --> 00:32:20,559
Speaker 1: Right.

623
00:32:20,960 --> 00:32:24,440
Speaker 16: Pitch deficiency can be you can train somebody to get

624
00:32:24,480 --> 00:32:28,000
their pitches correct. If somebody's actually tone deaf, they don't

625
00:32:28,039 --> 00:32:31,279
really like music anyway, right, So I don't get those

626
00:32:31,400 --> 00:32:34,000
kind of people because they don't enjoy music. Okay, So,

627
00:32:34,519 --> 00:32:37,759
and I do get people from time to time. Yeah, yeah, yeah,

628
00:32:37,799 --> 00:32:41,640
there's there's a difference. And I do get people, you know,

629
00:32:41,839 --> 00:32:44,039
from time to time that say, you know, after we

630
00:32:44,119 --> 00:32:46,400
do a couple of lessons, they say, what do you think,

631
00:32:46,880 --> 00:32:48,920
And I'll tell them, I'll say, you know, if they're

632
00:32:48,960 --> 00:32:51,240
pitch deficient, I'll say, you will be able to sing,

633
00:32:51,359 --> 00:32:53,319
but it's going to be a lot of work. If

634
00:32:53,359 --> 00:32:55,119
you want to do the work, we can get it done,

635
00:32:55,400 --> 00:32:56,920
you know what I mean. And they're never going to

636
00:32:56,960 --> 00:32:59,599
be your great singers, right, but you can be good

637
00:32:59,720 --> 00:33:02,519
enough to sing in your church band, or sing backups

638
00:33:02,559 --> 00:33:05,519
in your band, or do the occasional lead vocal in

639
00:33:05,599 --> 00:33:09,599
your group. But you know, great singers though, usually come

640
00:33:09,680 --> 00:33:10,880
to me singing already.

641
00:33:11,240 --> 00:33:15,839
Speaker 14: Okay, interesting yeah, yeah. Part of why that's so interesting

642
00:33:15,880 --> 00:33:17,400
to me is so I went through a few different

643
00:33:17,480 --> 00:33:21,680
vocal teachers, uh along the way. And you might even

644
00:33:21,720 --> 00:33:25,480
know I'm rolling Belile. Is that a familiar recognized because

645
00:33:25,599 --> 00:33:27,680
you have He was the owner of Bellile Music here

646
00:33:27,720 --> 00:33:32,079
in Manchester. Yeah, and I went I went to him

647
00:33:32,119 --> 00:33:34,720
and a couple other people over the years, and I

648
00:33:34,960 --> 00:33:37,359
you know, it's it's an odd thing with me. I'm

649
00:33:37,400 --> 00:33:39,640
actually not a bad harmony singer, I can kind of

650
00:33:39,880 --> 00:33:42,119
lock in and find the octave and whatnot. But on

651
00:33:42,279 --> 00:33:43,240
my own I get lost.

652
00:33:44,319 --> 00:33:46,519
Speaker 2: You play in the band, yeah, I've.

653
00:33:46,440 --> 00:33:48,359
Speaker 14: Not currently, but I'm a musician, you know. I play

654
00:33:48,400 --> 00:33:50,240
bass and a little bit of guitar, and I'm certainly

655
00:33:51,640 --> 00:33:51,880
do this.

656
00:33:52,200 --> 00:33:52,880
Speaker 3: Yeah, yeah.

657
00:33:54,200 --> 00:33:57,000
Speaker 2: It Yeah, if you love music, you're not tone deaf.

658
00:33:57,240 --> 00:33:59,880
Okay what I mean. But pitch deficiency is the lord

659
00:33:59,920 --> 00:34:00,720
and thing.

660
00:34:01,480 --> 00:34:02,640
Speaker 14: Know you're you're a better singer.

661
00:34:05,680 --> 00:34:08,920
Speaker 16: Yeah, yeah, if you if you enjoy music, you can

662
00:34:09,000 --> 00:34:13,519
do it. And it's just because typically that's a coordination issue, right,

663
00:34:13,880 --> 00:34:17,079
It's because what you're hearing in your you know, head

664
00:34:17,519 --> 00:34:20,559
is not coordinating up with your your voice. Yeah right,

665
00:34:20,639 --> 00:34:22,599
you know what I mean. So that can be trained in.

666
00:34:22,960 --> 00:34:26,639
Speaker 2: Okay, you know what I mean. That's that's the fundamental

667
00:34:26,679 --> 00:34:27,280
difference there.

668
00:34:27,480 --> 00:34:28,920
Speaker 14: Okay, just hope for me yet.

669
00:34:29,239 --> 00:34:31,679
Speaker 8: Yeah, Grandma says I killed cats.

670
00:34:32,079 --> 00:34:34,800
Speaker 14: Oh, Jenny is a better singer than she thinks she is.

671
00:34:34,920 --> 00:34:40,440
But but so but so tone deafness though, So that's real.

672
00:34:40,559 --> 00:34:42,039
That's a real thing, because that's the other thing I

673
00:34:42,119 --> 00:34:42,719
was curious about.

674
00:34:42,840 --> 00:34:44,719
Speaker 16: And you meet people like that from time to time,

675
00:34:44,880 --> 00:34:46,840
Like I used to fish with a guy. He didn't

676
00:34:46,840 --> 00:34:49,000
care what radio station was on. You're getting this truck,

677
00:34:49,000 --> 00:34:50,719
and what the hell are you listening to? He said,

678
00:34:50,960 --> 00:34:53,039
It's all the same to me. It's just noise.

679
00:34:53,239 --> 00:34:56,599
Speaker 8: That's that's surprising to me. I would have never thought that.

680
00:34:56,880 --> 00:34:58,760
I mean, I thought that I could be tone deaf,

681
00:34:58,840 --> 00:35:00,920
because I you know what I mean. But I never

682
00:35:01,000 --> 00:35:04,480
thought that people who are tone deaf are generally not

683
00:35:04,639 --> 00:35:05,559
happy about music.

684
00:35:05,880 --> 00:35:08,039
Speaker 16: Yeah, they just don't like it because they don't hear

685
00:35:08,159 --> 00:35:10,559
them melodic difference, So it's just irritating.

686
00:35:11,400 --> 00:35:14,159
Speaker 2: That's interesting. You don't hear melody, it's just noise.

687
00:35:14,400 --> 00:35:17,440
Speaker 14: Yeah, you know, because I've heard people say, yeah, I

688
00:35:17,480 --> 00:35:19,599
don't really like music, and it's but rarely have I

689
00:35:19,679 --> 00:35:21,480
heard anyone say that. And then when I when someone

690
00:35:21,559 --> 00:35:23,559
does say that, it's like, you know, I've always assumed

691
00:35:23,559 --> 00:35:27,599
there's something neurologically wrong with them, because who doesn't like music?

692
00:35:27,639 --> 00:35:28,719
It seems so strange.

693
00:35:29,079 --> 00:35:31,360
Speaker 8: You're kind of right, because if somebody's tone deaf, that

694
00:35:31,480 --> 00:35:32,679
is right.

695
00:35:33,280 --> 00:35:36,360
Speaker 2: It would probably annoy them rather than entertain them.

696
00:35:36,599 --> 00:35:38,800
Speaker 14: That's interesting an estimate of how many people like that

697
00:35:38,880 --> 00:35:40,840
are in the world, or because I would assume that's

698
00:35:40,920 --> 00:35:42,480
extremely rare, right, it's.

699
00:35:42,360 --> 00:35:44,760
Speaker 2: Got to be. I've never done any research. Yeah, you know,

700
00:35:44,800 --> 00:35:45,480
I just know that.

701
00:35:45,719 --> 00:35:47,440
Speaker 14: I'm just curious, you know that I'm thinking about it.

702
00:35:47,599 --> 00:35:50,199
Speaker 16: But most of the time, those you know, those people

703
00:35:50,280 --> 00:35:52,880
don't come for voice lessons because they don't care about it, right,

704
00:35:52,960 --> 00:35:56,320
they wouldn't be the people that are pitched efficient. And

705
00:35:56,400 --> 00:35:58,360
a lot of people say the same thing as you've said,

706
00:35:58,719 --> 00:36:00,920
is I can sing harmony, I can sing with others.

707
00:36:01,239 --> 00:36:02,960
They can sing in a choir. But when they're but

708
00:36:03,079 --> 00:36:06,440
trained in okay, you know, through exercises and you know,

709
00:36:06,880 --> 00:36:08,840
like dedication, you know, yeah, you have to work out.

710
00:36:09,000 --> 00:36:12,079
Speaker 2: I still won't give me a microphone. No you don't

711
00:36:12,119 --> 00:36:14,599
sink mike, No, No, only in the shower.

712
00:36:14,800 --> 00:36:15,079
Speaker 14: Okay.

713
00:36:15,239 --> 00:36:17,039
Speaker 2: Yeah, that's why I get an audience to come in

714
00:36:17,119 --> 00:36:17,360
with me.

715
00:36:17,480 --> 00:36:22,199
Speaker 8: But a shower cooking for me. But you are correct,

716
00:36:22,280 --> 00:36:24,480
it is a very low number. Back in twenty seventeen,

717
00:36:24,519 --> 00:36:27,280
they did a study estimating that between one point five

718
00:36:27,320 --> 00:36:31,119
percent to up to four percent of people have tone deafness,

719
00:36:31,400 --> 00:36:35,559
also known as a musia M A M S.

720
00:36:35,719 --> 00:36:37,880
Speaker 2: I go, Brice. I don't think it should be funny.

721
00:36:38,000 --> 00:36:41,719
I got a musia. Yeah, I took penestill and mind

722
00:36:41,760 --> 00:36:47,599
cleared up. Okay, you're shut his microphone. I'll take it

723
00:36:47,679 --> 00:36:48,039
from here.

724
00:36:48,639 --> 00:36:52,360
Speaker 8: It is a it can be congenital, in which case

725
00:36:52,400 --> 00:36:56,400
it can be more severe, which is rarer than people

726
00:36:56,440 --> 00:36:58,280
in general who are tone deaf, which is that one

727
00:36:58,320 --> 00:37:01,039
to four percent. So it is very a very low

728
00:37:01,199 --> 00:37:02,400
percentage of the population.

729
00:37:02,679 --> 00:37:05,800
Speaker 2: Yeah, interestingly. Yeah, so it's not the people we thought

730
00:37:05,800 --> 00:37:06,079
it was.

731
00:37:06,679 --> 00:37:08,199
Speaker 8: But it's not the people I would have thought it was.

732
00:37:08,320 --> 00:37:10,320
I would have thought that. It's like I didn't I

733
00:37:10,400 --> 00:37:12,639
can't hit that. No, so I'm tone deaf because I

734
00:37:12,679 --> 00:37:13,280
can't hit right.

735
00:37:13,679 --> 00:37:16,000
Speaker 16: That's what I thought that it meant, and a lot

736
00:37:16,079 --> 00:37:18,719
of times too, like you can go in somebody's vocal

737
00:37:18,880 --> 00:37:21,920
range and you can find out right that place in

738
00:37:22,039 --> 00:37:25,800
their voice, you know, especially the upper bridge of someone's

739
00:37:25,880 --> 00:37:28,840
voice where the coordination's going flat a little bit. I'll

740
00:37:28,920 --> 00:37:29,880
know exactly what to do.

741
00:37:30,159 --> 00:37:31,039
Speaker 2: Okay, you know what I mean.

742
00:37:31,119 --> 00:37:33,360
Speaker 16: You know exactly the range to work, and you know

743
00:37:33,440 --> 00:37:35,039
where the coordination issue is.

744
00:37:35,519 --> 00:37:38,280
Speaker 14: Yeah. I remember Roland doing that with me and trying

745
00:37:38,280 --> 00:37:39,559
to figure out where my range was.

746
00:37:40,920 --> 00:37:42,840
Speaker 8: No wonder you guys have beautiful harmonies.

747
00:37:42,920 --> 00:37:46,000
Speaker 16: Oh thanks you gorgeous. Marion and Cindy have always been

748
00:37:46,159 --> 00:37:51,320
like that. They sing together just beautifully. They have a

749
00:37:51,400 --> 00:37:52,639
real super chemistry.

750
00:37:53,320 --> 00:37:55,360
Speaker 8: It sounds like they're related, you know what I mean.

751
00:37:55,400 --> 00:37:58,599
How related people can really get that crazy harmony.

752
00:38:00,079 --> 00:38:03,719
Speaker 2: Together for thirty five years or whatever it is. Yeah,

753
00:38:04,199 --> 00:38:05,719
well yeah, yeah, but.

754
00:38:05,840 --> 00:38:08,679
Speaker 16: I can remember one time I was at a bluegrass

755
00:38:08,760 --> 00:38:11,760
festival in Texas, uh, you know, in the eighties, and

756
00:38:11,920 --> 00:38:14,519
Marian and Cindy were there with me, and they had

757
00:38:14,599 --> 00:38:16,440
they weren't really singing yet, you know what I mean.

758
00:38:16,519 --> 00:38:18,400
So I was with my banjo player and we were

759
00:38:18,400 --> 00:38:21,480
out going and playing with everybody, and I come back

760
00:38:21,519 --> 00:38:23,719
and there's this beautiful singing going on in the tent.

761
00:38:23,800 --> 00:38:25,519
I'm like, what the hell is going on in there?

762
00:38:25,679 --> 00:38:28,079
I open it up and it's Cindy and Marion and

763
00:38:28,199 --> 00:38:30,719
Marian's on guitar and they're harmonize. Like Chris, I said,

764
00:38:30,719 --> 00:38:32,760
I didn't know you guys could harmonize like that. They go,

765
00:38:32,840 --> 00:38:35,440
oh yeah, So that's where it began, you know, like

766
00:38:35,559 --> 00:38:38,119
I kind of realized, like, what the hell you know, yeah,

767
00:38:38,159 --> 00:38:40,840
I accident, yeah yeah yeah.

768
00:38:40,639 --> 00:38:43,320
Speaker 2: And they just right from the beginning had had a

769
00:38:43,400 --> 00:38:44,280
kind of a chemistry.

770
00:38:44,519 --> 00:38:44,719
Speaker 3: Yeah.

771
00:38:44,960 --> 00:38:46,760
Speaker 14: Yeah, Oh that's cool. That's cool.

772
00:38:48,320 --> 00:38:48,599
Speaker 5: Is Uh.

773
00:38:48,719 --> 00:38:50,400
Speaker 14: Now, some of the early music that you guys did,

774
00:38:50,480 --> 00:38:53,000
is that all available because you said you've got one

775
00:38:53,079 --> 00:38:54,480
hundred and fifty published, Yes.

776
00:38:54,440 --> 00:38:54,760
Speaker 2: All of it.

777
00:38:54,960 --> 00:38:58,239
Speaker 16: The Awkwatanang stuff is still it still gets spun all

778
00:38:58,320 --> 00:39:00,639
all the time, you know, the stuff about that like

779
00:39:01,119 --> 00:39:04,599
she Reigns particularly and fragile As and Nail the Aquatanang Ones,

780
00:39:04,840 --> 00:39:07,920
those two in particular, where they're sort of the band

781
00:39:08,000 --> 00:39:11,199
at the height of their powers. Okay, And it sounds

782
00:39:11,360 --> 00:39:13,280
like the nineties. I mean like I put that on

783
00:39:13,400 --> 00:39:14,920
and I just think, oh, yeah, here we are back

784
00:39:14,960 --> 00:39:17,199
there again, you know, kidding it's interesting.

785
00:39:17,239 --> 00:39:19,519
Speaker 14: I'll have to check some of that out later. I'm curious. Yeah,

786
00:39:19,639 --> 00:39:21,039
I'll do a deep dive.

787
00:39:21,119 --> 00:39:24,239
Speaker 16: Yeah yeah, yeah, And uh we've been working together, like

788
00:39:24,280 --> 00:39:26,599
I said, ever since then. So yeah, you know, it's

789
00:39:26,639 --> 00:39:29,840
a it's a real Uh. I think it's historic. I

790
00:39:29,880 --> 00:39:34,559
think New Hampshire musical history, our collaboration over the years,

791
00:39:34,599 --> 00:39:35,880
you know, even though you know not a lot of

792
00:39:35,880 --> 00:39:36,719
people know about it.

793
00:39:36,800 --> 00:39:38,679
Speaker 14: I think, well, it must be kind of intuitive, right,

794
00:39:38,840 --> 00:39:39,760
especially at this point.

795
00:39:40,119 --> 00:39:43,800
Speaker 2: Yeah, it probably is effortless. The work, the workflows very nice.

796
00:39:43,880 --> 00:39:46,800
Speaker 16: Yeah, Like now I'll write a couple of songs or

797
00:39:46,840 --> 00:39:49,039
when we're ready for a new song, he'll he'll just say,

798
00:39:49,039 --> 00:39:50,960
what have you got, yeah, and I'll just I'll get

799
00:39:51,000 --> 00:39:52,719
out my guitar and I'll play through a few things

800
00:39:52,719 --> 00:39:55,119
and he'll say that one yeah, and then and then

801
00:39:55,199 --> 00:39:56,280
we start to arrange it.

802
00:39:56,519 --> 00:39:56,639
Speaker 1: Uh.

803
00:39:56,920 --> 00:39:58,719
Speaker 2: You know, Mike's very good with the arrangement.

804
00:39:58,880 --> 00:40:01,920
Speaker 16: And it's really nice for a songwriter and a singer

805
00:40:02,000 --> 00:40:04,199
to have like what I call ears on the outside,

806
00:40:04,679 --> 00:40:06,840
you know, and if somebody that listens to your music

807
00:40:06,920 --> 00:40:07,519
and says.

808
00:40:07,519 --> 00:40:09,000
Speaker 2: I like this, I don't like that, you know.

809
00:40:09,000 --> 00:40:10,519
Speaker 16: I need to trust him with it, though, and he

810
00:40:11,039 --> 00:40:12,719
can be honest with me and say, you know, you're

811
00:40:12,760 --> 00:40:15,199
you're pushing too hard here, or you're biting down on that,

812
00:40:15,440 --> 00:40:17,440
or you know, things like that that would normally hurt

813
00:40:17,480 --> 00:40:18,519
your feelings, and I'll just you know.

814
00:40:18,960 --> 00:40:19,320
Speaker 3: Right right.

815
00:40:20,760 --> 00:40:24,199
Speaker 16: But but it's really you know, for somebody, you know,

816
00:40:24,280 --> 00:40:26,519
and so he'll pick generally, you know, I'll run through

817
00:40:26,519 --> 00:40:29,960
a couple like, uh, go on, go ahead and break.

818
00:40:30,480 --> 00:40:33,199
I wrote this past Valentine's Steak because I was down

819
00:40:33,239 --> 00:40:36,000
with influenza a I believe, and I was out for it,

820
00:40:36,159 --> 00:40:38,199
you know, And that the week I was out, I

821
00:40:38,280 --> 00:40:40,599
wrote three songs that week, which is great, and and

822
00:40:40,800 --> 00:40:43,280
go Ahead and Break was the last one of the three, okay,

823
00:40:43,559 --> 00:40:45,559
And so he says, what have you got? So I

824
00:40:45,760 --> 00:40:47,480
started playing that when he goes, that's the one. Let's

825
00:40:47,519 --> 00:40:49,679
do that one, you know, so he and then you know,

826
00:40:49,800 --> 00:40:52,199
then the band gets together, we start to arrange it.

827
00:40:52,280 --> 00:40:55,079
You know, Jeff Harrington, the drummer, had some nice arrangement

828
00:40:55,159 --> 00:40:58,639
ideas for for go Ahead and Break and so you

829
00:40:58,679 --> 00:41:00,719
know we sort of do that as a band, and yeah,

830
00:41:00,960 --> 00:41:01,840
and arrange it.

831
00:41:01,960 --> 00:41:03,480
Speaker 2: And and for a songwriter too.

832
00:41:03,639 --> 00:41:06,400
Speaker 16: Had to have a team that you can work with,

833
00:41:06,719 --> 00:41:09,039
like Cindy and Marion are great, like we like this.

834
00:41:09,239 --> 00:41:12,559
We don't like that, you know, for everybody to chip in,

835
00:41:12,639 --> 00:41:15,719
for every talented person, it helps you with your composition.

836
00:41:16,119 --> 00:41:18,320
The composition gets ratcheted up.

837
00:41:18,519 --> 00:41:19,159
Speaker 2: Yeah, you know.

838
00:41:19,360 --> 00:41:22,239
Speaker 16: So it's it's really like it's a dream come true

839
00:41:22,280 --> 00:41:25,480
to have a team to work with you on the songs,

840
00:41:25,480 --> 00:41:28,199
you know what I mean? Oh yeah, yeah, and contribute

841
00:41:28,239 --> 00:41:29,840
to their considerable talent, you know.

842
00:41:30,000 --> 00:41:33,239
Speaker 14: Yeah, absolutely absolutely, you guys want to play another one?

843
00:41:33,239 --> 00:41:35,480
We should? We should play another one. These are so good.

844
00:41:36,000 --> 00:41:37,480
What do you guys want to let highway?

845
00:41:37,559 --> 00:41:37,719
Speaker 3: Yeah?

846
00:41:37,760 --> 00:41:42,440
Speaker 2: Hello, Highway, Hello Highway, this is a song about your travels. Yeah.

847
00:41:42,519 --> 00:41:46,039
Speaker 16: Yeah, we were doing some care I wrote that stuck

848
00:41:46,079 --> 00:41:49,239
in traffic and uh in New Jersey.

849
00:41:50,079 --> 00:41:53,039
Speaker 2: No, No, Worcester. I was going through Worcester.

850
00:41:52,840 --> 00:41:55,719
Speaker 16: Because my father lived in North Carolina and going down

851
00:41:55,800 --> 00:41:58,800
the stretch he was dying to Parkinson's. We would do

852
00:41:59,039 --> 00:42:01,920
caregiving and everybody in the family would get down there

853
00:42:01,960 --> 00:42:03,440
for a couple of weeks. We were doing a lot

854
00:42:03,519 --> 00:42:06,320
of highway time. Yeah, And so one particular time, my

855
00:42:06,360 --> 00:42:08,000
sister said called me and said we got to get

856
00:42:08,039 --> 00:42:10,840
down there. So as I was going down driving through Worcester,

857
00:42:10,920 --> 00:42:12,079
I was like, Hello Highway.

858
00:42:12,320 --> 00:42:13,119
Speaker 14: Yeah, I like that.

859
00:42:13,480 --> 00:42:15,880
Speaker 16: So the next twenty four hours of driving I wrote

860
00:42:15,920 --> 00:42:17,920
the rest of the song in my mind. Yeah, and

861
00:42:18,000 --> 00:42:20,239
then when I got back to town, I wrote it down,

862
00:42:20,280 --> 00:42:21,760
you know. But that's how that one came about.

863
00:42:21,960 --> 00:42:24,199
Speaker 14: Okay, all right, yeah, let's give this a spand this

864
00:42:24,320 --> 00:42:26,800
is Hello Highway, and this is the Murphy Clark band.

865
00:42:44,400 --> 00:42:45,639
Speaker 1: Hello Highway.

866
00:42:47,800 --> 00:42:48,519
Speaker 2: Remember me.

867
00:42:51,639 --> 00:42:56,000
Speaker 1: And the one that I used to be.

868
00:42:58,920 --> 00:43:03,559
Speaker 3: Hello? How way? Can you take me home.

869
00:43:06,159 --> 00:43:07,159
Speaker 17: To a place?

870
00:43:07,960 --> 00:43:09,800
Speaker 1: He said, I never.

871
00:43:09,800 --> 00:43:15,800
Speaker 6: Really know, never really know, never really know.

872
00:43:18,400 --> 00:43:24,519
Speaker 3: Can you take me home? Hello Highway?

873
00:43:30,800 --> 00:43:31,400
Speaker 7: I'm away.

874
00:43:40,760 --> 00:43:42,079
Speaker 3: Hello Highway.

875
00:43:44,079 --> 00:43:45,039
Speaker 1: What's that you say?

876
00:43:48,000 --> 00:43:55,639
Speaker 3: Can you take me back to a better day? I

877
00:43:56,880 --> 00:43:59,599
well right and packing.

878
00:43:59,320 --> 00:44:07,239
Speaker 1: Strong to get up off the floor didn't take so long.

879
00:44:07,320 --> 00:44:08,960
Speaker 3: It didn't take so long.

880
00:44:10,920 --> 00:44:12,880
Speaker 6: I didn't take so long.

881
00:44:14,159 --> 00:44:20,679
Speaker 1: To get up for food, Hello Highway.

882
00:44:26,639 --> 00:44:37,119
Speaker 6: I don't need a place to call my own.

883
00:44:37,320 --> 00:44:41,800
Speaker 3: I don't need a phase to king. I just need

884
00:44:41,880 --> 00:44:46,159
a place to lay it down where I can get

885
00:44:46,400 --> 00:44:51,800
some sweep. I don't need a place on my own.

886
00:44:51,920 --> 00:44:56,360
I don't need the place to me. I just need

887
00:44:57,000 --> 00:45:00,679
place to thing be down where I I can get

888
00:45:00,880 --> 00:45:01,639
some sleep.

889
00:45:03,360 --> 00:45:05,199
Speaker 7: I can get some sleep.

890
00:45:06,679 --> 00:45:07,639
Speaker 6: High sleep.

891
00:45:14,960 --> 00:45:40,239
Speaker 4: Wait, Hello Highway.

892
00:45:42,880 --> 00:45:43,400
Speaker 3: Time to go.

893
00:45:46,199 --> 00:45:50,320
Speaker 1: No, he'll need to remind me that you told me so.

894
00:45:51,480 --> 00:45:58,079
Speaker 3: You told me so. Yeah, you told me so. No

895
00:45:58,719 --> 00:46:00,360
need to remind.

896
00:46:26,559 --> 00:46:26,800
Speaker 9: Hello.

897
00:46:27,760 --> 00:46:41,039
Speaker 2: Hello, mm hmmm, Hello Highway.

898
00:46:41,519 --> 00:46:43,480
Speaker 14: It's kind of got lost in that one listening to that.

899
00:46:43,639 --> 00:46:44,599
That's really good guy.

900
00:46:44,960 --> 00:46:47,039
Speaker 2: You want to go on that? Yeah? You want to

901
00:46:47,119 --> 00:46:47,519
go paint?

902
00:46:47,639 --> 00:46:48,480
Speaker 8: I want to go paint.

903
00:46:48,559 --> 00:46:51,239
Speaker 14: She likes she likes to listen to music while she paints.

904
00:46:51,239 --> 00:46:51,719
Speaker 2: So cool.

905
00:46:51,800 --> 00:46:53,039
Speaker 14: Yeah, she's gonna she's gonna put that on.

906
00:46:54,079 --> 00:46:58,880
Speaker 16: Yeah, I'd love to love everybody. Put us on your playlist, please, Yeah,

907
00:46:58,920 --> 00:47:04,559
and I should say to you. We're on Spotify, Apple Music, Amazon, YouTube.

908
00:47:05,239 --> 00:47:07,880
I love my YouTube channel small though it may be, yeah,

909
00:47:08,760 --> 00:47:10,920
but you know, we're on all the major platforms.

910
00:47:11,280 --> 00:47:14,440
Speaker 2: The music is just some crazy videos on YouTube, are there? Yeah?

911
00:47:14,639 --> 00:47:17,320
Speaker 15: I get all the video duties. Yeah, I'm not a

912
00:47:17,440 --> 00:47:20,480
huge fan, but it's kind of fun. Video is a

913
00:47:20,519 --> 00:47:22,800
lot of work, and I'm clunky on it because I'm

914
00:47:22,840 --> 00:47:26,199
an audio guy. Sure, sure, it's you know, fun to

915
00:47:26,280 --> 00:47:26,800
do videos.

916
00:47:26,960 --> 00:47:27,119
Speaker 2: Yeah.

917
00:47:27,199 --> 00:47:28,920
Speaker 14: Yeah, that's a powerful song though.

918
00:47:28,960 --> 00:47:31,320
Speaker 2: Oh thanks, so good. That is so good.

919
00:47:32,039 --> 00:47:34,480
Speaker 14: If you are just joining us. We've got Brian Murphy

920
00:47:34,599 --> 00:47:37,679
and Mike Clark from the Murphy Clark Band here with

921
00:47:37,840 --> 00:47:40,599
us in studio and we've been talking a lot and

922
00:47:40,679 --> 00:47:43,719
playing some tunes and uh, just just really great. Is

923
00:47:44,239 --> 00:47:46,360
is that one of the more recent ones? Or or

924
00:47:46,440 --> 00:47:47,800
is that is that one been out for a while?

925
00:47:48,079 --> 00:47:51,360
Speaker 2: I think it's eight months maybe, Okay.

926
00:47:51,920 --> 00:47:54,239
Speaker 16: We try to get a song done every two months, okay,

927
00:47:54,480 --> 00:47:58,000
and we've been relatively successful with that. That includes you know,

928
00:47:58,079 --> 00:48:01,199
the writing, the arranging and then the production of it,

929
00:48:01,320 --> 00:48:04,039
and you know, we try to get get two months

930
00:48:04,880 --> 00:48:09,280
of ourselves, you know. So yeah, that one's probably about

931
00:48:09,320 --> 00:48:12,840
four songs back, I would say eight months or six

932
00:48:12,920 --> 00:48:13,679
months or something like that.

933
00:48:14,239 --> 00:48:16,159
Speaker 14: And so that's kind of the schedule. So is there

934
00:48:17,039 --> 00:48:19,039
is there an album that these are going to coalesce

935
00:48:19,079 --> 00:48:20,519
into or are you just going to keep doing singles?

936
00:48:20,559 --> 00:48:24,000
Speaker 2: We don't do. I don't we don't feel like the

937
00:48:24,320 --> 00:48:25,480
lost platform.

938
00:48:25,719 --> 00:48:25,880
Speaker 3: Yeah.

939
00:48:26,840 --> 00:48:29,079
Speaker 16: I think it's very difficult to get people to listen

940
00:48:29,119 --> 00:48:31,480
to a CD anyway, you know, because people have so much,

941
00:48:31,719 --> 00:48:35,840
so many entertainment options, I feel like. And another thing too,

942
00:48:36,159 --> 00:48:39,559
is when you release a single, you know, you get

943
00:48:39,599 --> 00:48:42,360
a bump on all the platforms. So if you're on Spotify,

944
00:48:42,519 --> 00:48:46,559
your Apple Music or whatever, you get a little you know,

945
00:48:46,880 --> 00:48:50,360
especially if you're a verified artist, you get a bump,

946
00:48:50,440 --> 00:48:53,480
so they promote that single for the first week or

947
00:48:53,559 --> 00:48:56,360
so like that. So if you release a CD, your

948
00:48:56,440 --> 00:48:59,480
CD gets that pump. But if you release a single,

949
00:48:59,559 --> 00:49:01,760
you get a bump every time you do the single.

950
00:49:02,360 --> 00:49:05,639
So it's just kind of more advantageous. And another thing

951
00:49:05,679 --> 00:49:09,440
I like about it, Matt, is it allows the artists

952
00:49:09,519 --> 00:49:11,639
to work in what I call the honeymoon period with

953
00:49:11,760 --> 00:49:14,000
the song, right, So when you have a new song,

954
00:49:14,079 --> 00:49:16,920
everybody's excited about it, everybody's get you know, gives it,

955
00:49:17,000 --> 00:49:19,400
they're all. But if you do a CD project and

956
00:49:19,480 --> 00:49:22,480
you get hung up, the next thing, you know, everything

957
00:49:22,599 --> 00:49:24,079
starts to kind of slow down.

958
00:49:24,320 --> 00:49:26,559
Speaker 15: You tend to rush through things if you'd you know, oh,

959
00:49:26,800 --> 00:49:28,639
we got to finish this because we have ten other

960
00:49:28,760 --> 00:49:31,119
songs we have to complete, you.

961
00:49:31,119 --> 00:49:33,440
Speaker 2: Know, and then you might slide or you know.

962
00:49:33,599 --> 00:49:35,880
Speaker 16: Then you cannot work on a song for four months

963
00:49:35,920 --> 00:49:37,360
and then you kind of come back to it and I,

964
00:49:37,679 --> 00:49:39,280
where where were we with this one?

965
00:49:39,360 --> 00:49:40,880
Speaker 2: You know what I mean? And you don't care about

966
00:49:40,920 --> 00:49:41,639
it anymore? Really?

967
00:49:41,719 --> 00:49:44,519
Speaker 16: Whereas if you do a song and it's that song,

968
00:49:44,719 --> 00:49:46,760
you know, And I recommend this to musicians all the times,

969
00:49:46,880 --> 00:49:49,360
and they never listen. They always say, no, we're doing

970
00:49:49,360 --> 00:49:51,199
a CD, and I say, okay, fine. When it gets

971
00:49:51,280 --> 00:49:52,320
bogged down, give me a call.

972
00:49:52,519 --> 00:49:54,679
Speaker 2: Don't tell them that bright, I lose money. When you tell.

973
00:49:55,679 --> 00:49:59,440
Speaker 16: Singles you'll make the same amount of money. Just think

974
00:49:59,480 --> 00:50:02,079
how much money I've paid you, dude. Come on, you

975
00:50:02,159 --> 00:50:02,760
walk into that.

976
00:50:04,159 --> 00:50:04,400
Speaker 3: Come on.

977
00:50:05,360 --> 00:50:06,239
Speaker 2: I don't get me wrong.

978
00:50:06,280 --> 00:50:08,079
Speaker 15: I would love people to put the needle on the

979
00:50:08,159 --> 00:50:10,800
record and listen to the whole record. I kind of

980
00:50:10,880 --> 00:50:13,599
missed that because I'm guilty of it. Like I'll listen

981
00:50:13,679 --> 00:50:16,440
to like the new David Gilmour record and listen to

982
00:50:16,519 --> 00:50:20,159
two tracks then go oh, you know, uh to the

983
00:50:20,239 --> 00:50:21,639
wet Sprockett has a new record out of.

984
00:50:21,679 --> 00:50:24,679
Speaker 2: Whoever, you know what I mean. So, you there's so

985
00:50:24,880 --> 00:50:26,719
much to choose from your access.

986
00:50:27,119 --> 00:50:29,320
Speaker 16: So I kind of look at it like, instead of

987
00:50:29,480 --> 00:50:32,360
putting out a CD, is put out a single and

988
00:50:32,800 --> 00:50:35,159
hope to get on some playlists, Hope people include it

989
00:50:35,239 --> 00:50:37,079
on their favorite playlist or whatever like that.

990
00:50:37,480 --> 00:50:41,480
Speaker 2: Yeah, and that, yeah, you stay visible to yeah exactly. Yeah,

991
00:50:41,920 --> 00:50:42,320
and a lot.

992
00:50:42,480 --> 00:50:45,119
Speaker 16: I mean, you know, you can do a show and

993
00:50:45,440 --> 00:50:47,280
one person might come up and say, do you have

994
00:50:47,320 --> 00:50:49,400
a CD for sale? You know, and but most of

995
00:50:49,440 --> 00:50:52,079
the time not, you know what I mean, because people

996
00:50:52,119 --> 00:50:53,760
don't think of it that way.

997
00:50:53,760 --> 00:50:56,559
Speaker 15: They don't put ring cars anymore, so you are Yeah,

998
00:50:56,760 --> 00:50:57,920
that's true, that's true.

999
00:50:58,280 --> 00:51:01,000
Speaker 16: I've just kind of moved away from that, and periodically

1000
00:51:01,000 --> 00:51:02,599
I think, oh, I should put it all together in

1001
00:51:02,639 --> 00:51:05,079
a CD project, and then I think, you know why,

1002
00:51:05,440 --> 00:51:08,960
yeah you know, yeah, So that's my that's my theory

1003
00:51:09,039 --> 00:51:09,239
on it.

1004
00:51:09,320 --> 00:51:13,519
Speaker 2: Anyway. Yeah, Well, listening habits have changed, Yeah, oh absolutely, yeah. Change.

1005
00:51:13,559 --> 00:51:15,639
Speaker 16: Like I said, what I like about most of it

1006
00:51:15,880 --> 00:51:19,480
is doing a song, putting your all into it, getting

1007
00:51:19,480 --> 00:51:21,199
the best mix you can, and then moving on.

1008
00:51:21,280 --> 00:51:23,519
Speaker 2: To the next one. Yeah. Yeah, you know what I mean.

1009
00:51:23,840 --> 00:51:26,199
It keeps you know, it keeps you writing, it keeps you,

1010
00:51:26,800 --> 00:51:28,639
you know, working like that, you know. Yeah.

1011
00:51:29,159 --> 00:51:31,320
Speaker 14: Yeah, there's so many different ways now to release music

1012
00:51:31,400 --> 00:51:33,559
and so many different strategies you should use, and you

1013
00:51:33,599 --> 00:51:37,360
know that's that's all changed too. Yeah, and yeah no,

1014
00:51:37,519 --> 00:51:42,519
it's uh, technology has just changed everything. But but yeah,

1015
00:51:42,599 --> 00:51:44,480
but it's like you know, you kind of you do

1016
00:51:44,599 --> 00:51:46,679
have to kind of feed the machine, feed that algorithm.

1017
00:51:46,760 --> 00:51:46,880
Speaker 5: You know.

1018
00:51:49,239 --> 00:51:52,440
Speaker 16: Really, the CD period was a very short period and

1019
00:51:52,599 --> 00:51:56,920
musical history, right, I mean you probably remember singles where

1020
00:51:56,960 --> 00:51:59,599
you get a forty five Yeah, you know in that

1021
00:51:59,760 --> 00:52:01,320
you know, I mean it was one song.

1022
00:52:02,960 --> 00:52:03,599
Speaker 2: Side or whatever.

1023
00:52:04,119 --> 00:52:07,440
Speaker 14: I might I might be you look good, I might

1024
00:52:07,519 --> 00:52:15,239
thank you, thank you, I'm moisturized, I stay hydrated. But yeah,

1025
00:52:15,400 --> 00:52:17,760
it's some some of the artists we have on the

1026
00:52:17,800 --> 00:52:21,920
show have kind of recommitted to physical media just because

1027
00:52:22,000 --> 00:52:24,639
you know, sometimes if you're a fan, it's it's nice

1028
00:52:24,679 --> 00:52:26,159
to have liner notes and things like that.

1029
00:52:26,360 --> 00:52:30,079
Speaker 2: But miss that yeah there with the album cover, Yeah, that's.

1030
00:52:30,039 --> 00:52:33,039
Speaker 14: The best, Like the Vinyl the gatefold, you know, and you.

1031
00:52:33,119 --> 00:52:36,519
Speaker 15: Can against mixing art mediums. You know, you have the

1032
00:52:36,599 --> 00:52:40,000
music and you have the art that was exactly record

1033
00:52:40,079 --> 00:52:41,039
cover exactly.

1034
00:52:41,199 --> 00:52:41,440
Speaker 3: Yeah.

1035
00:52:41,679 --> 00:52:45,920
Speaker 14: Yeah, absolutely, well, gentlemen, so that the time goes quickly.

1036
00:52:46,000 --> 00:52:47,519
We will do this again in the future, though.

1037
00:52:47,360 --> 00:52:48,559
Speaker 2: I would love to come back.

1038
00:52:48,719 --> 00:52:52,880
Speaker 14: I'd love to have you guys got stories man, Yeah yeah, yeah,

1039
00:52:53,000 --> 00:52:55,440
and especially too as you're releasing new music, because you know,

1040
00:52:55,880 --> 00:52:58,159
you keep putting out new stuff. So yeah, so that's

1041
00:52:58,239 --> 00:53:01,079
that's an easy excuse to get you back on. But

1042
00:53:01,199 --> 00:53:03,559
in the meantime, we should close our segment with one

1043
00:53:03,599 --> 00:53:04,079
more track.

1044
00:53:04,199 --> 00:53:06,320
Speaker 2: What would you guys like to Uh, yeah, we could

1045
00:53:06,320 --> 00:53:08,880
do only you, only you, only you, man. Ay, this

1046
00:53:09,039 --> 00:53:11,440
is the one that came before go on and break.

1047
00:53:11,480 --> 00:53:14,800
Speaker 14: It's only you, okay, anything we should know about this?

1048
00:53:15,559 --> 00:53:17,159
Speaker 2: Yeah, this one I don't remember.

1049
00:53:17,639 --> 00:53:17,760
Speaker 20: Uh.

1050
00:53:18,559 --> 00:53:22,280
Speaker 2: This is a track we revisited though, okay, yeah, because

1051
00:53:22,320 --> 00:53:24,320
from a while ago. Okay, we did it back in

1052
00:53:24,360 --> 00:53:24,639
the day.

1053
00:53:25,119 --> 00:53:27,559
Speaker 16: I don't remember the specifics are right in this one though,

1054
00:53:27,639 --> 00:53:29,159
in particular, you know, it's.

1055
00:53:29,079 --> 00:53:32,199
Speaker 2: Just okay, you know I can't do in a dream? Yeah, yeah,

1056
00:53:32,559 --> 00:53:33,320
that's poetic.

1057
00:53:33,440 --> 00:53:39,639
Speaker 14: Yeah, right, And before we spend this anything. What should

1058
00:53:39,639 --> 00:53:41,519
our listeners know about how to find you guys online?

1059
00:53:41,559 --> 00:53:43,079
What's the best place to go to keep up with everything?

1060
00:53:43,079 --> 00:53:45,559
Speaker 2: The Murphy Clark. We have a Facebook. I run it.

1061
00:53:45,679 --> 00:53:47,800
Speaker 16: So if you think I suck at Facebook, you're right.

1062
00:53:48,960 --> 00:53:52,440
So I do this social media so you'll you'll you'll

1063
00:53:52,480 --> 00:53:52,719
know that.

1064
00:53:53,079 --> 00:53:53,280
Speaker 14: Yeah.

1065
00:53:53,599 --> 00:53:56,400
Speaker 15: The channel, the YouTube channels great though. Yeah, there's a

1066
00:53:56,440 --> 00:53:59,760
lot of stuff. There's live videos on there. And okay,

1067
00:54:00,559 --> 00:54:03,039
it's Murphy Clark. Just if you tell you in Murphy Clark,

1068
00:54:03,239 --> 00:54:06,599
it'll come up, okay, okay. And we appreciate anybody adding

1069
00:54:06,679 --> 00:54:09,519
adding a song to their their favorite playlist or whatever.

1070
00:54:09,719 --> 00:54:12,159
Speaker 2: Yeah, you appreciate it. And if if somebody writes something

1071
00:54:12,199 --> 00:54:13,239
on YouTube, we see it.

1072
00:54:14,320 --> 00:54:18,239
Speaker 15: Jen's gonna paint to one of the Yes, yes she is.

1073
00:54:18,400 --> 00:54:20,800
And if anyone wants to dance naked, that's fine too.

1074
00:54:21,280 --> 00:54:24,639
Speaker 14: You can do that, you know, absolutely, not here, not here.

1075
00:54:24,679 --> 00:54:25,679
Speaker 2: We can that.

1076
00:54:26,559 --> 00:54:28,159
Speaker 14: The cameras are on and I don't think we're zoned

1077
00:54:28,199 --> 00:54:28,400
for it.

1078
00:54:29,119 --> 00:54:31,440
Speaker 2: Yeah I should. I should have done some sit ups

1079
00:54:31,519 --> 00:54:31,840
or something.

1080
00:54:33,679 --> 00:54:36,960
Speaker 16: As far it's gonna appear naked, I look pretty sure

1081
00:54:37,679 --> 00:54:40,159
in the park if you give me a chance.

1082
00:54:42,239 --> 00:54:43,760
Speaker 2: Well, like I said, we will have you back, so

1083
00:54:44,119 --> 00:54:48,599
we'll thanks for everything and thank you for your commitment. Everyone.

1084
00:54:48,719 --> 00:54:51,159
You know, we really appreciate that, like thank you, just

1085
00:54:51,280 --> 00:54:52,360
like Kate over it.

1086
00:54:53,400 --> 00:54:56,840
Speaker 16: You know the listening room. The dedication and devotion that

1087
00:54:56,920 --> 00:54:58,840
people have is so important, you know what I mean.

1088
00:54:58,920 --> 00:54:59,840
Speaker 2: It means a lot to us.

1089
00:55:00,199 --> 00:55:02,239
Speaker 14: Oh yeah, I mean no, we we love it, you know,

1090
00:55:02,360 --> 00:55:05,760
Jenny and I love to I appreciate that absolutely, absolutely,

1091
00:55:06,000 --> 00:55:08,199
so we will. We'll close out the segment with only

1092
00:55:08,280 --> 00:55:10,519
You Man. That's the title of this track, Only You

1093
00:55:11,039 --> 00:55:13,199
Oh it's just only you Okay. I was sure because

1094
00:55:13,199 --> 00:55:15,079
it says only you Man on here, but it says

1095
00:55:15,159 --> 00:55:16,800
only you Man mixed, so I don't know if it was.

1096
00:55:16,800 --> 00:55:20,280
Speaker 15: The band from my studio to name stuff what I

1097
00:55:20,320 --> 00:55:22,719
want to name it. Yeah, that's not the name of

1098
00:55:22,800 --> 00:55:26,119
the song, smell, it's it's just from my file.

1099
00:55:26,280 --> 00:55:30,079
Speaker 14: I got I gotcha, I gotcha all right. And if

1100
00:55:30,119 --> 00:55:33,199
you are listening live on Saturday morning, Aaron Bildo is

1101
00:55:33,239 --> 00:55:35,360
coming up next in the third hour, so stick around

1102
00:55:35,360 --> 00:55:37,559
for that. He's going to play live. But guys, thank

1103
00:55:37,639 --> 00:55:40,480
you again. Brian Murphy and Mike Clark from the Murphy

1104
00:55:40,519 --> 00:55:42,000
Clark Band, and here it is only you.

1105
00:55:58,639 --> 00:56:10,800
Speaker 3: It's all right when your suffer, it's all right when

1106
00:56:10,920 --> 00:56:11,840
you cry.

1107
00:56:14,000 --> 00:56:14,159
Speaker 7: Up.

1108
00:56:14,360 --> 00:56:16,679
Speaker 3: Pick you well, I'll thank.

1109
00:56:16,599 --> 00:56:21,360
Speaker 4: You for did you recall down and be coming down.

1110
00:56:21,679 --> 00:56:22,960
Speaker 6: I'll dry your.

1111
00:56:25,639 --> 00:56:31,000
Speaker 3: Does on man only.

1112
00:56:33,079 --> 00:56:35,039
Speaker 4: Man only.

1113
00:56:38,400 --> 00:56:39,119
Speaker 3: Like myself.

1114
00:56:39,679 --> 00:56:41,440
Speaker 4: I sh like myself.

1115
00:56:41,639 --> 00:56:45,360
Speaker 5: I shrike myself much like myself.

1116
00:56:45,679 --> 00:56:54,199
Speaker 3: I'll much like man. And in the night when your

1117
00:56:54,440 --> 00:57:06,960
heart is broken, Oh god son, nest you.

1118
00:57:09,480 --> 00:57:11,119
Speaker 7: S seeking.

1119
00:57:12,320 --> 00:57:14,239
Speaker 4: Satime, I will not.

1120
00:57:14,599 --> 00:57:32,239
Speaker 21: Pretty suse your own only like myself, uns.

1121
00:57:32,320 --> 00:57:37,400
Speaker 5: Like myself, unch like myself, unsup myself.

1122
00:57:37,679 --> 00:58:04,360
Speaker 3: I'm much like me. It's alright when yourself.

1123
00:58:09,119 --> 00:58:14,960
Speaker 2: Right, when you come, so you.

1124
00:58:15,159 --> 00:58:20,280
Speaker 3: Ever make, you should use me for Jamie.

1125
00:58:21,239 --> 00:58:26,280
Speaker 21: I will not put sid's cause.

1126
00:58:29,119 --> 00:58:34,320
Speaker 3: Man only you, man on.

1127
00:58:42,239 --> 00:58:43,440
Speaker 4: Only you.

1128
00:58:46,239 --> 00:58:51,320
Speaker 3: Only what stack the sell.

1129
00:58:52,639 --> 00:59:01,920
Speaker 17: My s stack myself, myself my side much like it's

1130
00:59:02,519 --> 00:59:02,760
us

1131
00:59:05,679 --> 00:59:06,239
Speaker 3: Into the