Speaker 1: W M n H will rip the knob off.
Speaker 2: You are listening to Double M and H World Premiere.
Speaker 3: What's that sound?
Speaker 4: What's that sound?
Speaker 1: Get out my way?
Speaker 5: Al burns down, maxy, scream and shout and out turn
this town around, stop and look this way. I made
some insufficious What I see is what I say, And
this is a travesty. The earth is trying to now
and you don't see the tragedy. It's all blurring all
it's one and die is a blinded. We think it's typical,
but that's just cause it's so shallow.
Speaker 4: My dad, what's that sound?
Speaker 3: What's that sound?
Speaker 6: Get out my way?
Speaker 5: Ou burns down, maxy and scream and shout and out
turn this town round, Pee everywhere, pivot your parts and
nurture ant care for this world of us. I believe
the earth will no longer fall apart.
Speaker 3: We can do little. Back to Cather.
Speaker 5: And find a piece of less forever.
Speaker 3: What's it sound? What's it sound? Down my way?
Speaker 5: I burns down, mixie and scream.
Speaker 6: And show pan outs on this town round?
Speaker 3: What's it sound?
Speaker 6: What's it sound?
Speaker 3: Down my way?
Speaker 5: I burns down, mixie and scream and shout, pan out
on this town around?
Speaker 3: What's it turn the town around?
Speaker 5: What's it sounds?
Speaker 3: It sound?
Speaker 4: What's up?
Speaker 3: But I'm away?
Speaker 5: I burnt down MIXI scream and shot and I'll.
Speaker 6: Turn this town around.
Speaker 7: What's it sound?
Speaker 8: What's it sound?
Speaker 3: My way?
Speaker 5: I burns down on Psy scream and shot and I'll.
Speaker 4: Turn this town roun.
Speaker 2: You are listening to.
Speaker 1: W M and H World Premiere.
Speaker 3: Yeah, I told my heart go ahead and break.
Speaker 4: So God love.
Speaker 3: For goodness me? Yeah, I just about.
Speaker 1: Died all four feet.
Speaker 3: So I told my heart go ahead and break.
Speaker 9: Yeah, limiss to see you told me so.
Speaker 3: I learned. Thanks. I wish I didn't know.
Speaker 10: Yeah, it looked so good until it warns that hurts
spat yet is so burned.
Speaker 4: Shy.
Speaker 3: I told my heart go ahead and break. So about
the love for goodness? Sake you spoul died? Oh four
feet so I told my heart go ahead and break.
It was like a dream.
Speaker 11: Sure was so beautiful, so full of life.
Speaker 3: It was wonderful. Then came the day when she did
he leaves. Man, it broke me up like you would
not believe. That's why I told my heart go ahead
and break. It's all about the love for goodness. Sake.
Speaker 9: Yeah, just about that all for faith. So I told
my heart your head and break, yeah, go.
Speaker 12: On, break, go on, and cried, y'all cat broken.
Speaker 3: And I don't know why.
Speaker 1: Some time we get more than me can take.
Speaker 3: That's why I told my heart go ahead, brain.
Speaker 4: Yeah.
Speaker 3: I told myself go ahead and cry.
Speaker 9: Let the tears fall of your eyes.
Speaker 4: Why then once told.
Speaker 12: Me everybody lies. That's why I told myself go ahead
and cry. And I told my heart go ahead, break.
Speaker 13: So I told my heart, gor head, brave, go ahead.
Speaker 14: It's so good. Another world radio premiere here at WU
m n H ninety five point three FM on Matt
Connorton Unleashed. That is go ahead and break. That is
the Murphy Clark Band. Guys, Okay, right out of the gate.
What's the correct way to say?
Speaker 2: Is it?
Speaker 14: Do I say Murphy Clark or is it the Murphy
Clark Band?
Speaker 2: Yes, either one is fine. They are whatever you want
to call it, Murphy Clark.
Speaker 14: Okay. So Jenny and I are joined live in studio
by of course, Brian Murphy. Brian Murphy and Mike Clark.
Is probably not Murphy, right, because then it would be
the Murphy Clark right, Brian Murphy and Mike Clark. You're
in studio and uh I love that track and of
course as you as you witnessed, I could not help
but sing along with it. And that's how you know
you've got something right on the point, right, Yeah, when
you when you play something for somebody and they can't
help it sing along like it's not even like it's
not like, oh I think I'll sing along to this.
It's just an involved and terry motion, you know.
Speaker 4: Yeah.
Speaker 2: Yeah, that's who we hope for.
Speaker 14: Absolutely, and we'll play some more of your stuff as
we as we go along. But it's great to have
you guys here.
Speaker 15: For having us and thank you for doing this. Oh
absolutely no local bands need the support.
Speaker 14: Absolutely absolutely. Well, we love it and there's so much
you know, Jenny does all the booking and sometimes people
will ask her, you know, where do you find all
these great artists and.
Speaker 15: It's so much talent around here. Absolutely, you know it's incredible.
You just use the word yeah, yeah, I looked it
up this morning. Don't ask me to spell it though.
Speaker 2: There is a great word, yes, yes, hell does it
mean a lot of pu yeah, you know. Sometimes Brian
needs help.
Speaker 14: Yeah, well, we all need help something for sure. Yeah, yeah, no,
I love it. You guys have a great sound. I
feel like kind of the secret weapon is the vocals
and the harmonies and everything is. And how long has
this project existed? Have you guys been at the a
while or is this new.
Speaker 2: Or we've been collaborating for about thirty years? I think
we started.
Speaker 15: Working a while. Yeah, we started. You weren't even born, Matt,
I think.
Speaker 14: Oh my goodness, I probably I probably was, But.
Speaker 16: Yeah, you know we started, you know, way back in
the day, in the mid nineties, I was I was
recording with Aquatanang was the name of the band. We
were with Sony and Manhattan back in the big record days,
no kidding, and uh, you know, we we worked there
and then I wanted to find somebody local, so I
did a session with Mike and I really liked the
way he mixed, okay, and so we started working back then.
He started running sound for us with Aquatanang and then
started doing records together. You know, at that point we've
been doing him ever since.
Speaker 2: Okay, Okay, that was in a bridge version. I sped
it up a little bit, so, but yeah, that's that's
how it's you know, and a bit more from there.
Speaker 15: Okay, yeah, okay, people change, you know, members changed, and
the sound of the band changed. We went we're all
electric now. Yeah that Aquatang was all acoustics. Ohkid, yeah yeah,
so folks Dylan did it, We figured we could do it.
Speaker 2: Yeah.
Speaker 16: Yeah, so that actually because before, you know, after Aquatanang,
well with Aquatanang, Mike started to do percussion for us
and work his way in. And then after that we
decided to start a different project of the first iteration
of Murphy Clark, which was Americana, right bass. I played
the mandola.
Speaker 2: Oh no kidding, Yeah, And we did that I think
like twelve years until COVID hit. Yeah, and then that
wiped everything. Yeah yeah, yeah.
Speaker 16: Our our guitar player had like fourteen kids and yeah,
and so we so then, uh, Mike's always wanted to
go electric anyway, the acoustic thing was my thing. So yeah,
you know, during the pandemic when we had the shutdown,
it was just he and I and we sort of
broke the rules and I kept going into the studio
and we just started doing studio stuff and I.
Speaker 15: Kept handing him an electric See I'm in a rocker
from way back when nothing wrong with acoustic stuff.
Speaker 16: So he kept saying, you know, so I took a
couple of years and you know, got comfortable with the
electric guitar, and yeah, now we we have a new format,
uh with you know. But some of the like the
female vocals h Marion and Cindy have been with us
of course since the awkward.
Speaker 13: O.
Speaker 16: So four of us have been together since all that time.
And now we have Gary Young who's a world class
lead guitar player. He does a wonderful job is on
the guitar now, Jeff Harrington on.
Speaker 2: Drums, who owns Indy Music. He owns c Indy Music.
Speaker 15: And Amherst Oh put a little bitcher there, yeah yeah, yeah, okay.
Speaker 2: I teach voice there, voice teacher there. Yeah. Oh actually
yeah we love it. Yeah yeah, music all the time.
Speaker 14: No, that's great.
Speaker 2: Yeah, that's great. Yeah, that's tremendous, you know.
Speaker 16: I mean and as a songwriter too, and you know,
doing music to accompany other singers with every kind of
song you can think of, it really helps you see
chord progressions, melodies, all kinds of things like that.
Speaker 2: Yeah, so it gives you a real heightened.
Speaker 16: Understanding of songs and music and all that, you know,
and you just never know what you're going to get,
everything from Taylor Swift to like Granddaddy sure whatever, you know. Yeah,
so yeah, that's so it's been great.
Speaker 14: And so you guys have worked together pretty consistently then
over the decades. Yeah, that's amazing. Yeah, you don't see
that a lot. I mean, you know, we have sometimes
a lot of bands on the show that people who
have worked together for a long time, but they've worked together,
but then not work together for a long time and
then kind of reunited. But it sounds like you guys
have been pretty consistent.
Speaker 2: Yeah. We have over one hundred and fifty published songs.
Speaker 15: Actually, oh my god, wown Yeah two of them.
Speaker 14: Yeah kidding. Now, what's the what's the live situation? Like,
do you guys play out a lot or what's u.
Speaker 2: We're getting there? Yeah, we're kind of studio rats.
Speaker 15: But you know, we we played a few shows being
into the Air and we're getting our show together and
we have some booked towards the end of the season,
end of the summer.
Speaker 16: Yeah, one in Mount Vernon on the twenty third, okay,
in the town Square in mont Vernon.
Speaker 2: Oh, excellent, July twenty third, and that's at six.
Speaker 16: And then we have two shows in August, one at
the Prayers of Nature the listening room there.
Speaker 2: Oh yes, you've got it right here. Oh yeah, what's
that show?
Speaker 14: Yeah yeah, she's brought two or three times.
Speaker 2: A big supporter of local music. I love that.
Speaker 16: Absolutely, Like you dedicated and devoted to musicians, and we
honor that.
Speaker 2: That's a great thing. Yeah, what I mean?
Speaker 16: And so and then if the that's the August eighth,
we're there and I think.
Speaker 2: It's Andre's Institute.
Speaker 16: Yeah, that's the twenty fourth. Okay, that's it in Brookline.
That's a really nice room too.
Speaker 15: There it used to be an old club called the
Big Beer like seventies. I used to play there and
there in the seventies.
Speaker 2: Oh wow. Yeah.
Speaker 15: And they reopened at the Art Institute part in. It's
an amazing room. Oh cool, yeah, great. What's it called
the Andres Institute. It used to be the Big Beer
a lounge okay, like long time ago?
Speaker 2: Yeah yeah.
Speaker 14: What is so from from the perspective of you guys,
what what has changed about? And this is something that
comes up on the show a lot. What is what
has changed over the years? As far as making music
and and promoting music, and.
Speaker 2: Don't get me going on that.
Speaker 15: I guess my studio has been opened for forty years.
Speaker 14: Okay, so I'm really curious to get your perspective. Yeah,
because everything's you know, obviously, the Internet changed everything.
Speaker 2: I mean when we started making records, we were using tape. Yeah.
Speaker 14: Yeah.
Speaker 15: Our editing capabilities was the race of blade and some
splicing tape. Yeah, you know, so it's changed so much. Yeah,
you know, Yeah, it's easy to make records.
Speaker 14: Yeah.
Speaker 15: I mean Billie Eilish want five Grammys off something she
made in her bedroom.
Speaker 2: Yep. You know.
Speaker 15: So it's just everything's changed in the music business. Yeah,
some good things, some bad things, right.
Speaker 14: Right, Yeah, I think I think overall it's for the better.
Speaker 2: Right.
Speaker 17: Oh.
Speaker 2: Absolutely, you know I love digital.
Speaker 14: Yeah.
Speaker 2: You couldn't pay me to go back to tape.
Speaker 15: I used to teach audio engineering at a tech school
and all the kids would be like, I'm going to
open a studio and do analog tape. And I was like, dudes,
you've never touched a piece of tape. You don't want
to do that. You don't want to.
Speaker 2: Go back there.
Speaker 16: Yeah, you certainly don't want to go back to a dats.
Speaker 2: Yeah.
Speaker 14: Yeah, when I was a kid, I actually remember a
friend of mine had a reel to reel tape and
I remember, you know, trying to. Of course I screwed
it all up, but I remember trying to like shoee,
and yeah it was fun.
Speaker 15: Yeah, you know, I kind of appreciate those years though,
because you know, I learned my skill from sort of
the prehistoric way of recording to what it is now.
Speaker 16: And yeah, well I think it's really enhanced you mixing ability,
you know what I mean, Like because in those days,
you know, when you go into the studio, you had
to rebuild the mix.
Speaker 2: Yeah, you have total recall.
Speaker 16: So now everything pops up where you left it, which
I love, you know what I mean. But he used
to have to rebuild the mix from scratch all day.
Speaker 2: So that's really good for you.
Speaker 15: Bring up, bring up the bass, you know, so you're
doing that all day long, and the modern engineers don't
have to do that.
Speaker 2: Boom it's back, you know.
Speaker 14: Right yeah.
Speaker 2: Yeah, And the audience has changed too, you know what
I mean.
Speaker 16: People have a lot more you know, like if like
the nineties were kind of a golden age, right, you know,
people bought eight CDs, you know, they bought CDs at
your show or whatever like that. They listen to the
CDs all the tracks, you know. Now it's different. People
have a lot more entertainment options, you know. So music
isn't king like it used to be, you know what
I mean. But but I love the new format because
you know, we get paid. You can get played all
over the world, you know what I mean. I get
royalty checks from ask Cap and Albania and things like that,
you know, play we get played all over the world,
you know, which is very interesting.
Speaker 15: Yeah, oh yeah, you don't have to get into the
record in the six store anymore.
Speaker 16: Right right, yeah, And if you didn't sell somebody your record,
they didn't have it.
Speaker 2: Now, you know, It's which I love.
Speaker 16: You know, you get played on YouTube, you get played
on Spotify, which all our music get played here?
Speaker 2: Yeah yeah, yeah.
Speaker 14: Well also, you know, from the perspective, we were talking
about this earlier because we had on our first guests
were from Ireland Moonlight Eclips and you know, obviously that
wouldn't have happened pre Internet, right, you know, unless they
were already famous. Right, But but doing this show too,
you know, we were obviously we're in Manchester, New Hampshire
at this this beautiful radio station WM and H beautiful.
But we have listeners all over the world and you know,
we have people who listening from Ireland in the in
the chat room and and uh amazing. You know, it's
the ability to to connect with with people globally is
is just fantastic. And music is you know, the the
international language anyway, So you know, it's wonderful as far
as doing something like this and and what like what
are because Mike you you alluded to some somethings something's
for the.
Speaker 2: Better right over all? But absolutely, well what have what have?
Speaker 14: What have we? Is there something we've lost along the
way with I.
Speaker 15: Think we've lost a lot of the soul in our music,
you know, because you know, and I'm not putt we
use computers and samples and you know, we integrate them
with real playing.
Speaker 2: But a lot of.
Speaker 15: It's it seems like soulless to me, it's too much,
too mechanical. Sometimes Okay, I don't know, you know, because.
Speaker 16: Mostly you know a lot of it is pre existing tracks.
You know, people are dragging and dropping. Yeah, and the
level of musicianship is different. Right, If you're dragging in
all your track your tracks and dropping them and then
singing something over it, it's not the same thing as
people sitting over a piano or over a guitar, bent
over there for years learning how to play.
Speaker 2: And all that music. It's going through them, through their heart,
their soul, their their mind.
Speaker 14: Yeah.
Speaker 16: If you drag and drop stuff, you drag it, you
you and then sing over it, it's not it's not
going through you, and it's not a development.
Speaker 2: And of course AI is going to push that narrative
even more.
Speaker 14: Oh yeah, you know it already. Yeah, it already is
absolutely souno dot com. We've used that on the show.
Speaker 2: It's incredible.
Speaker 13: It is.
Speaker 2: The recording sounds amazing.
Speaker 15: I know they're formulaic because it's machine learning, but yeah,
you know, if you ask it to do a country song,
it sounds like modern country.
Speaker 14: It does.
Speaker 2: It's incredible.
Speaker 14: Yeah, you know, yeah, yeah, we tried it on. Uh,
we did kind of a live demonstration of it on
the show, because we talk about that a lot of
on the show AI and the effect of it on
the music industry, and so we Uh, it was something
I'd kind of had in my back pocket for for
a long time. An idea. You know, sometime when we
have a segment, maybe a guest cancels or something. You know,
there's always things going on in the music industry, so
there's always things to talk about. So I was like,
you know, let's let's try uh, let's try this. We'll
make a song using SUNO and just see what happens.
Speaker 2: Its kind of fun lyrics for it.
Speaker 1: Oh.
Speaker 14: We Well, what we did was, you know, we just
put in a bunch of prompts, you know, and and
see what it spits out right. And Jenny and I
both you know, we we uh just sat here kind
of gobsmacked, like, wow, this is even better than we
would have expected.
Speaker 2: Yeah.
Speaker 16: No, I feel like, I mean, it's John Henry's style
battle with A. I you know, call what I use RI. I. Yeah,
we used a lot of A on my studio though.
Speaker 15: You know, it's incredible tools to like check tonal balance
on or you know, you know, remove noise or anything
like that. It's great tools for it, you know.
Speaker 14: Yeah. Yeah, but absolutely yeah. And I assume so everything
you guys have done is recorded there, I assume, right.
Speaker 15: Yeah, yeah, yeah, creative my studio, Yeah, yeah, yeah, no.
Speaker 14: It sounds it sounds fantastic. Oh thanks, where's your studio? It'shers?
Speaker 2: Yeah, yeah, what's it called Clock Creative, Clark Creative.
Speaker 15: Yeah, and I've been there. I'm celebrating my fortieth niversary.
Speaker 2: Congratulations. Yeah, yeah, that's awesome.
Speaker 15: Could argue be the longest running commercial studio in New England.
I don't know, it's a long time.
Speaker 14: You know what's interesting about that is.
Speaker 1: People.
Speaker 14: One of the things I find that's interesting about getting
older is just seeing like what technologies change, what technologies
go away, what technologies stick around, but also sometimes what
people thought was going to change but doesn't change. And
one of the things that has not changed as much
is recording in terms of there's still a lot of
really good recording studios around. Like you're obviously still thriving.
You're celebrating forty years at Clark Creating.
Speaker 2: Yeah.
Speaker 14: And the reason I bring that up is because you know,
that's one of the things people predicted with the advent
of home recording and then all the technology that we have.
Speaker 15: Now see a lot of bands integrate that with me though,
like the band you're having on next Yeah, they'll come
in and do their drum tracks with me or their
rhythm section. They'll take it home, bring the files home
and do all the close micing stuff like the vocals
guitars because a lot of people use modeling now for guitars. Yeah,
and then they bring back to me for mixing. So
you know, you know, you can run away from it,
but you have to learn how to integrate that into
your business.
Speaker 14: Right right. Yeah. Yeah, So in your experience over the
past forty well in more recent years with all this technology,
are you still as busy as ever?
Speaker 2: Oh yeah, yeah, yeah, that's wonderful.
Speaker 15: And I do some commercial stuff too, like I do
all the podcasts for Business New Hampshire magazine. Yeah, and
I work for this big company called the Pilot Workshops,
the pay site for pilots.
Speaker 2: They teach them how to not crash their plan.
Speaker 14: Oh no, kidding.
Speaker 15: So you know I do some of that stuff too,
which I enjoy. Yeah, yeah, you know, but yeah, super busy.
Speaker 14: Yeah yeah.
Speaker 16: Well, and I think like the home recording is a
bit of a trap for musicians too, because you get
bogged down in the in the engineering, right, so you know,
and it takes away from the creative process you're you know,
you're you're not focusing on your song and your performance.
You're don't you gets compressive impressors, reverbs, eques, you know.
So I recommend to songwriters to get your eyes ideas
down right and get a sketch of it and then
take it to the studio and do it in the studio, right,
you know what I mean, and use the tools that
you have with the home recording, but don't get bogged
down at like so many people just get hung up
on the technicalities, and you know, you need an engineer
to engineer that, you know.
Speaker 14: Yeah, yeah, Also a lot of times too, uh, you know,
someone an engineer might become a producer, a de facto producer, right,
you know you.
Speaker 2: Kind of have to wear both those hats at the
level where you work at. Yeah, you know.
Speaker 15: Yeah, very few bands can afford a producer or even
trust a producer with their music. You have to trust
the guy that's making the decisions on your tracks, which
is a lot of times bands don't want to relinquish
that control, of course I get that, Yeah, but you know,
once you get a rapport with the artists, they trust
you to kind of put your two cents in on
you know, the arrangements or whatnot.
Speaker 14: Of course.
Speaker 2: Yeah, yeah, who is it that we have on next week?
Speaker 14: Who's recording with you?
Speaker 3: Now?
Speaker 2: What do they call Parental Eye or something?
Speaker 15: It's Jake Young? Oh, yes, yes, I always can't remember
the name of their band. I can't pronounce the first.
Speaker 14: Well, that's the thing. Yeah, I think. I think even
when he was here, he he even said, uh yeah,
because he was here and the Youngs and even said, yeah, no,
one can pronounce the name of this other project.
Speaker 2: I can't do it. We did Aquatang. Don't do it, guys,
pretty easy.
Speaker 14: I'm curious about Aquatinang. So you were were you were
signed to a major?
Speaker 2: We were.
Speaker 16: We were at Sony in Manhattan. We never actually got signed.
We were brought in there as like a spec project.
Oh really okay, and we worked.
Speaker 2: It was great.
Speaker 16: I mean we were down in Sony in the nineties.
It was amazing the music going on, you know, like, yeah,
one of the times we were there, we were doing
a session and the engineer came in and said, we
all have to get out of here because Michael's here.
Speaker 15: And I said, Michael, who it wasn't me my reason
to leave? And they said Michael Jackson. And so Michael
Jackson came in with like his twenty twenty people strong
code really yeah yeah, and they just he wanted everyone
else out the boots. So yeah, yeah, thanks Michael.
Speaker 14: Oh that's fine.
Speaker 2: I'm alive and you're not.
Speaker 14: That's well, that's true.
Speaker 2: No, but but that's it was. It was amazing. Yeah,
it was amazing and.
Speaker 16: But but but Mike's Mike's a better engineer than anybody
down in Sony though.
Speaker 2: That's for sure. Here you go. Wow, yeah, yeah, I
don't want to borrow money or something, Yes, I do.
I don't have any I guess that was pretty sure.
Speaker 14: Parents, Well, he won't be b borrowing any money from
Michael Jackson's estate, so, you know, apparently, so you know, I.
Speaker 2: Mean Ozzie was down there. I peed next to jay Z,
Jay next to jay Z. Yeah.
Speaker 3: Oh wow.
Speaker 2: That's the one thing.
Speaker 15: It wasn't r Kelly. It might be a different, yeah scenario,
Jasey didn't pay.
Speaker 14: No kidding me. Well, actually some of the allegations against
jay Z, now that that might you know crazy, Yeah, yeah,
that could have been risky.
Speaker 2: You know, he had no interest in me.
Speaker 14: Apparently, I hope none of that's true because ninety nine
Problems is like my favorite hip hop song of all time. Yeah,
I hope none of that's true.
Speaker 2: He's still considered the best hip hop artists.
Speaker 14: Oh yeah, I love jay Z, so I hope none
of that sounds true. Yeah, but oh boy, we should
play another track. What do you guys, I'll let you pick.
I mean, what would you guys like to h to
feature next of the songs that he's one?
Speaker 2: Sure, it's kind of interesting. There's some horns in it.
Speaker 14: Oh, she's the one.
Speaker 3: Yeah?
Speaker 14: Yeah, okay, now who's who's playing the horns on this?
Speaker 1: Me?
Speaker 2: Yeah? We did on keyboard. Yeah. I used to use
this program called Arcade. It's really cool.
Speaker 15: Like it's a California company, And what they do is
they give you phrases of an instrument, so you kind
of play it yourself, so you pick what you want
to use out of the phrase.
Speaker 2: You develop it that way.
Speaker 15: It's not a loop, so it's there's still some human
interaction with the program.
Speaker 2: Yeah, it's cool, it's cool. Yeah, these are what do
you call them?
Speaker 15: Probably township township horns, yeah, because it's kind of reggae soundings. Okay, cool, Yeah,
they're slightly detuned, you know what I mean?
Speaker 14: Yeah, yeah, yeah, all right, cool. Let's give this a
spand this is She's the one, and this is the
Murphy Clark Band.
Speaker 18: She's the kind of lady you don't want to awake
her while she's sleep, A certain kind of someone you
can tell her about the.
Speaker 19: Company she keep me. Beauty is the goodness of you
one and loves awake.
Speaker 11: Goodness is the beauty one.
Speaker 3: That lights away.
Speaker 20: Oh oh, styles the agent for.
Speaker 1: The wild, and it's been a work.
Speaker 3: She's the one, a certain.
Speaker 11: Kind of flower that God himself has shielded with his hands,
and out of the ashes of a fire.
Speaker 20: Comes up stronger one to stand. And Beauty is the
goodness of you one.
Speaker 3: Love wi. Goodness is the beauty.
Speaker 11: One A light way, a race, a style, easy.
Speaker 1: For one, and it's been working. She's the one.
Speaker 3: She's won till the night, till he break it down.
Speaker 11: I see her like shinun, I see her life.
Speaker 3: Show.
Speaker 7: She's she's young.
Speaker 6: She's the can you lady do.
Speaker 3: To wake up?
Speaker 1: Why?
Speaker 3: Why?
Speaker 7: She's said, hmmm.
Speaker 2: I love that.
Speaker 14: That's a nice sound.
Speaker 2: Yeah, Brian wrote that for Sydney Sweeney.
Speaker 14: I really like that.
Speaker 2: Yeah, yeah, I don't know who Sydney.
Speaker 14: I was gonna I was gonna say, who's Sidney sweeeney?
Speaker 2: What you guys don't get out much, do you.
Speaker 8: I honestly have no idea what he's talking about.
Speaker 14: I feel like I should know. I was gonna say,
I feel like I should know the reference Murphy Clark
band here and uh here in studio with us Brian
Murphy and Mike Clark. You know what I like about that?
Speaker 2: In the mix?
Speaker 14: I like the way the horns are are present, but
they're not like sometimes when you hear horns they're.
Speaker 2: Loud, you know what I mean?
Speaker 14: And though and and I like the where the horns
sit in the mix.
Speaker 15: Well, well, definitely a vocal band, so everything kind of
like goes under the vocals.
Speaker 2: You know. Yeah, yeah, but it's a hook I mean yeah,
it's a hook onto itself.
Speaker 3: Yeah.
Speaker 2: No, I like it.
Speaker 14: It has a lot of texture. Yeah, and the vocals too,
aren't super loud either. It's interesting. But I really like
the mix. Thanks, Yeah, absolutely absolutely that.
Speaker 16: I think that's one of his strong suits Mike, is
his mixing ability. Okay, you know, I think that's really like,
definitely that's what attracted to me in the beginning.
Speaker 2: Of Dashing good look and the hair, Yeah, the hair.
Speaker 8: And he said, you're a vocal teacher, right, yes I am.
Speaker 2: Yeah.
Speaker 8: So do you ever get students that just want to
sing karaoke without killing any animals?
Speaker 3: Yeah?
Speaker 16: I do get I get the karaoke contingent, no doubt,
you know what I mean? Yeah, but yeah, and that's
the beauty of it. I have singers across the spectrum,
you know, I really love doing that.
Speaker 2: I love doing that.
Speaker 14: Do you do you ever This might be a strange question,
but do you ever have to kind of turn away
anybody like, like, do you ever have you ever had
a student who you just kind of feel like how
they're not going to get this?
Speaker 2: Well?
Speaker 16: Typically not, because you know, everyone can get better as
long as they're not, you know, tone deaf.
Speaker 2: Right.
Speaker 16: Yeah, there's a difference between being tone deaf and being
pitched deficient.
Speaker 1: Right.
Speaker 16: Pitch deficiency can be you can train somebody to get
their pitches correct. If somebody's actually tone deaf, they don't
really like music anyway, right, So I don't get those
kind of people because they don't enjoy music. Okay, So,
and I do get people from time to time. Yeah, yeah, yeah,
there's there's a difference. And I do get people, you know,
from time to time that say, you know, after we
do a couple of lessons, they say, what do you think,
And I'll tell them, I'll say, you know, if they're
pitch deficient, I'll say, you will be able to sing,
but it's going to be a lot of work. If
you want to do the work, we can get it done,
you know what I mean. And they're never going to
be your great singers, right, but you can be good
enough to sing in your church band, or sing backups
in your band, or do the occasional lead vocal in
your group. But you know, great singers though, usually come
to me singing already.
Speaker 14: Okay, interesting yeah, yeah. Part of why that's so interesting
to me is so I went through a few different
vocal teachers, uh along the way. And you might even
know I'm rolling Belile. Is that a familiar recognized because
you have He was the owner of Bellile Music here
in Manchester. Yeah, and I went I went to him
and a couple other people over the years, and I
you know, it's it's an odd thing with me. I'm
actually not a bad harmony singer, I can kind of
lock in and find the octave and whatnot. But on
my own I get lost.
Speaker 2: You play in the band, yeah, I've.
Speaker 14: Not currently, but I'm a musician, you know. I play
bass and a little bit of guitar, and I'm certainly
do this.
Speaker 3: Yeah, yeah.
Speaker 2: It Yeah, if you love music, you're not tone deaf.
Okay what I mean. But pitch deficiency is the lord
and thing.
Speaker 14: Know you're you're a better singer.
Speaker 16: Yeah, yeah, if you if you enjoy music, you can
do it. And it's just because typically that's a coordination issue, right,
It's because what you're hearing in your you know, head
is not coordinating up with your your voice. Yeah right,
you know what I mean. So that can be trained in.
Speaker 2: Okay, you know what I mean. That's that's the fundamental
difference there.
Speaker 14: Okay, just hope for me yet.
Speaker 8: Yeah, Grandma says I killed cats.
Speaker 14: Oh, Jenny is a better singer than she thinks she is.
But but so but so tone deafness though, So that's real.
That's a real thing, because that's the other thing I
was curious about.
Speaker 16: And you meet people like that from time to time,
Like I used to fish with a guy. He didn't
care what radio station was on. You're getting this truck,
and what the hell are you listening to? He said,
It's all the same to me. It's just noise.
Speaker 8: That's that's surprising to me. I would have never thought that.
I mean, I thought that I could be tone deaf,
because I you know what I mean. But I never
thought that people who are tone deaf are generally not
happy about music.
Speaker 16: Yeah, they just don't like it because they don't hear
them melodic difference, So it's just irritating.
Speaker 2: That's interesting. You don't hear melody, it's just noise.
Speaker 14: Yeah, you know, because I've heard people say, yeah, I
don't really like music, and it's but rarely have I
heard anyone say that. And then when I when someone
does say that, it's like, you know, I've always assumed
there's something neurologically wrong with them, because who doesn't like music?
It seems so strange.
Speaker 8: You're kind of right, because if somebody's tone deaf, that
is right.
Speaker 2: It would probably annoy them rather than entertain them.
Speaker 14: That's interesting an estimate of how many people like that
are in the world, or because I would assume that's
extremely rare, right, it's.
Speaker 2: Got to be. I've never done any research. Yeah, you know,
I just know that.
Speaker 14: I'm just curious, you know that I'm thinking about it.
Speaker 16: But most of the time, those you know, those people
don't come for voice lessons because they don't care about it, right,
they wouldn't be the people that are pitched efficient. And
a lot of people say the same thing as you've said,
is I can sing harmony, I can sing with others.
They can sing in a choir. But when they're but
trained in okay, you know, through exercises and you know,
like dedication, you know, yeah, you have to work out.
Speaker 2: I still won't give me a microphone. No you don't
sink mike, No, No, only in the shower.
Speaker 14: Okay.
Speaker 2: Yeah, that's why I get an audience to come in
with me.
Speaker 8: But a shower cooking for me. But you are correct,
it is a very low number. Back in twenty seventeen,
they did a study estimating that between one point five
percent to up to four percent of people have tone deafness,
also known as a musia M A M S.
Speaker 2: I go, Brice. I don't think it should be funny.
I got a musia. Yeah, I took penestill and mind
cleared up. Okay, you're shut his microphone. I'll take it
from here.
Speaker 8: It is a it can be congenital, in which case
it can be more severe, which is rarer than people
in general who are tone deaf, which is that one
to four percent. So it is very a very low
percentage of the population.
Speaker 2: Yeah, interestingly. Yeah, so it's not the people we thought
it was.
Speaker 8: But it's not the people I would have thought it was.
I would have thought that. It's like I didn't I
can't hit that. No, so I'm tone deaf because I
can't hit right.
Speaker 16: That's what I thought that it meant, and a lot
of times too, like you can go in somebody's vocal
range and you can find out right that place in
their voice, you know, especially the upper bridge of someone's
voice where the coordination's going flat a little bit. I'll
know exactly what to do.
Speaker 2: Okay, you know what I mean.
Speaker 16: You know exactly the range to work, and you know
where the coordination issue is.
Speaker 14: Yeah. I remember Roland doing that with me and trying
to figure out where my range was.
Speaker 8: No wonder you guys have beautiful harmonies.
Speaker 16: Oh thanks you gorgeous. Marion and Cindy have always been
like that. They sing together just beautifully. They have a
real super chemistry.
Speaker 8: It sounds like they're related, you know what I mean.
How related people can really get that crazy harmony.
Speaker 2: Together for thirty five years or whatever it is. Yeah,
well yeah, yeah, but.
Speaker 16: I can remember one time I was at a bluegrass
festival in Texas, uh, you know, in the eighties, and
Marian and Cindy were there with me, and they had
they weren't really singing yet, you know what I mean.
So I was with my banjo player and we were
out going and playing with everybody, and I come back
and there's this beautiful singing going on in the tent.
I'm like, what the hell is going on in there?
I open it up and it's Cindy and Marion and
Marian's on guitar and they're harmonize. Like Chris, I said,
I didn't know you guys could harmonize like that. They go,
oh yeah, So that's where it began, you know, like
I kind of realized, like, what the hell you know, yeah,
I accident, yeah yeah yeah.
Speaker 2: And they just right from the beginning had had a
kind of a chemistry.
Speaker 3: Yeah.
Speaker 14: Yeah, Oh that's cool. That's cool.
Speaker 5: Is Uh.
Speaker 14: Now, some of the early music that you guys did,
is that all available because you said you've got one
hundred and fifty published, Yes.
Speaker 2: All of it.
Speaker 16: The Awkwatanang stuff is still it still gets spun all
all the time, you know, the stuff about that like
she Reigns particularly and fragile As and Nail the Aquatanang Ones,
those two in particular, where they're sort of the band
at the height of their powers. Okay, And it sounds
like the nineties. I mean like I put that on
and I just think, oh, yeah, here we are back
there again, you know, kidding it's interesting.
Speaker 14: I'll have to check some of that out later. I'm curious. Yeah,
I'll do a deep dive.
Speaker 16: Yeah yeah, yeah, And uh we've been working together, like
I said, ever since then. So yeah, you know, it's
a it's a real Uh. I think it's historic. I
think New Hampshire musical history, our collaboration over the years,
you know, even though you know not a lot of
people know about it.
Speaker 14: I think, well, it must be kind of intuitive, right,
especially at this point.
Speaker 2: Yeah, it probably is effortless. The work, the workflows very nice.
Speaker 16: Yeah, Like now I'll write a couple of songs or
when we're ready for a new song, he'll he'll just say,
what have you got, yeah, and I'll just I'll get
out my guitar and I'll play through a few things
and he'll say that one yeah, and then and then
we start to arrange it.
Speaker 1: Uh.
Speaker 2: You know, Mike's very good with the arrangement.
Speaker 16: And it's really nice for a songwriter and a singer
to have like what I call ears on the outside,
you know, and if somebody that listens to your music
and says.
Speaker 2: I like this, I don't like that, you know.
Speaker 16: I need to trust him with it, though, and he
can be honest with me and say, you know, you're
you're pushing too hard here, or you're biting down on that,
or you know, things like that that would normally hurt
your feelings, and I'll just you know.
Speaker 3: Right right.
Speaker 16: But but it's really you know, for somebody, you know,
and so he'll pick generally, you know, I'll run through
a couple like, uh, go on, go ahead and break.
I wrote this past Valentine's Steak because I was down
with influenza a I believe, and I was out for it,
you know, And that the week I was out, I
wrote three songs that week, which is great, and and
go Ahead and Break was the last one of the three, okay,
And so he says, what have you got? So I
started playing that when he goes, that's the one. Let's
do that one, you know, so he and then you know,
then the band gets together, we start to arrange it.
You know, Jeff Harrington, the drummer, had some nice arrangement
ideas for for go Ahead and Break and so you
know we sort of do that as a band, and yeah,
and arrange it.
Speaker 2: And and for a songwriter too.
Speaker 16: Had to have a team that you can work with,
like Cindy and Marion are great, like we like this.
We don't like that, you know, for everybody to chip in,
for every talented person, it helps you with your composition.
The composition gets ratcheted up.
Speaker 2: Yeah, you know.
Speaker 16: So it's it's really like it's a dream come true
to have a team to work with you on the songs,
you know what I mean? Oh yeah, yeah, and contribute
to their considerable talent, you know.
Speaker 14: Yeah, absolutely absolutely, you guys want to play another one?
We should? We should play another one. These are so good.
What do you guys want to let highway?
Speaker 3: Yeah?
Speaker 2: Hello, Highway, Hello Highway, this is a song about your travels. Yeah.
Speaker 16: Yeah, we were doing some care I wrote that stuck
in traffic and uh in New Jersey.
Speaker 2: No, No, Worcester. I was going through Worcester.
Speaker 16: Because my father lived in North Carolina and going down
the stretch he was dying to Parkinson's. We would do
caregiving and everybody in the family would get down there
for a couple of weeks. We were doing a lot
of highway time. Yeah, And so one particular time, my
sister said called me and said we got to get
down there. So as I was going down driving through Worcester,
I was like, Hello Highway.
Speaker 14: Yeah, I like that.
Speaker 16: So the next twenty four hours of driving I wrote
the rest of the song in my mind. Yeah, and
then when I got back to town, I wrote it down,
you know. But that's how that one came about.
Speaker 14: Okay, all right, yeah, let's give this a spand this
is Hello Highway, and this is the Murphy Clark band.
Speaker 1: Hello Highway.
Speaker 2: Remember me.
Speaker 1: And the one that I used to be.
Speaker 3: Hello? How way? Can you take me home.
Speaker 17: To a place?
Speaker 1: He said, I never.
Speaker 6: Really know, never really know, never really know.
Speaker 3: Can you take me home? Hello Highway?
Speaker 7: I'm away.
Speaker 3: Hello Highway.
Speaker 1: What's that you say?
Speaker 3: Can you take me back to a better day? I
well right and packing.
Speaker 1: Strong to get up off the floor didn't take so long.
Speaker 3: It didn't take so long.
Speaker 6: I didn't take so long.
Speaker 1: To get up for food, Hello Highway.
Speaker 6: I don't need a place to call my own.
Speaker 3: I don't need a phase to king. I just need
a place to lay it down where I can get
some sweep. I don't need a place on my own.
I don't need the place to me. I just need
place to thing be down where I I can get
some sleep.
Speaker 7: I can get some sleep.
Speaker 6: High sleep.
Speaker 4: Wait, Hello Highway.
Speaker 3: Time to go.
Speaker 1: No, he'll need to remind me that you told me so.
Speaker 3: You told me so. Yeah, you told me so. No
need to remind.
Speaker 9: Hello.
Speaker 2: Hello, mm hmmm, Hello Highway.
Speaker 14: It's kind of got lost in that one listening to that.
That's really good guy.
Speaker 2: You want to go on that? Yeah? You want to
go paint?
Speaker 8: I want to go paint.
Speaker 14: She likes she likes to listen to music while she paints.
Speaker 2: So cool.
Speaker 14: Yeah, she's gonna she's gonna put that on.
Speaker 16: Yeah, I'd love to love everybody. Put us on your playlist, please, Yeah,
and I should say to you. We're on Spotify, Apple Music, Amazon, YouTube.
I love my YouTube channel small though it may be, yeah,
but you know, we're on all the major platforms.
Speaker 2: The music is just some crazy videos on YouTube, are there? Yeah?
Speaker 15: I get all the video duties. Yeah, I'm not a
huge fan, but it's kind of fun. Video is a
lot of work, and I'm clunky on it because I'm
an audio guy. Sure, sure, it's you know, fun to
do videos.
Speaker 2: Yeah.
Speaker 14: Yeah, that's a powerful song though.
Speaker 2: Oh thanks, so good. That is so good.
Speaker 14: If you are just joining us. We've got Brian Murphy
and Mike Clark from the Murphy Clark Band here with
us in studio and we've been talking a lot and
playing some tunes and uh, just just really great. Is
is that one of the more recent ones? Or or
is that is that one been out for a while?
Speaker 2: I think it's eight months maybe, Okay.
Speaker 16: We try to get a song done every two months, okay,
and we've been relatively successful with that. That includes you know,
the writing, the arranging and then the production of it,
and you know, we try to get get two months
of ourselves, you know. So yeah, that one's probably about
four songs back, I would say eight months or six
months or something like that.
Speaker 14: And so that's kind of the schedule. So is there
is there an album that these are going to coalesce
into or are you just going to keep doing singles?
Speaker 2: We don't do. I don't we don't feel like the
lost platform.
Speaker 3: Yeah.
Speaker 16: I think it's very difficult to get people to listen
to a CD anyway, you know, because people have so much,
so many entertainment options, I feel like. And another thing too,
is when you release a single, you know, you get
a bump on all the platforms. So if you're on Spotify,
your Apple Music or whatever, you get a little you know,
especially if you're a verified artist, you get a bump,
so they promote that single for the first week or
so like that. So if you release a CD, your
CD gets that pump. But if you release a single,
you get a bump every time you do the single.
So it's just kind of more advantageous. And another thing
I like about it, Matt, is it allows the artists
to work in what I call the honeymoon period with
the song, right, So when you have a new song,
everybody's excited about it, everybody's get you know, gives it,
they're all. But if you do a CD project and
you get hung up, the next thing, you know, everything
starts to kind of slow down.
Speaker 15: You tend to rush through things if you'd you know, oh,
we got to finish this because we have ten other
songs we have to complete, you.
Speaker 2: Know, and then you might slide or you know.
Speaker 16: Then you cannot work on a song for four months
and then you kind of come back to it and I,
where where were we with this one?
Speaker 2: You know what I mean? And you don't care about
it anymore? Really?
Speaker 16: Whereas if you do a song and it's that song,
you know, And I recommend this to musicians all the times,
and they never listen. They always say, no, we're doing
a CD, and I say, okay, fine. When it gets
bogged down, give me a call.
Speaker 2: Don't tell them that bright, I lose money. When you tell.
Speaker 16: Singles you'll make the same amount of money. Just think
how much money I've paid you, dude. Come on, you
walk into that.
Speaker 3: Come on.
Speaker 2: I don't get me wrong.
Speaker 15: I would love people to put the needle on the
record and listen to the whole record. I kind of
missed that because I'm guilty of it. Like I'll listen
to like the new David Gilmour record and listen to
two tracks then go oh, you know, uh to the
wet Sprockett has a new record out of.
Speaker 2: Whoever, you know what I mean. So, you there's so
much to choose from your access.
Speaker 16: So I kind of look at it like, instead of
putting out a CD, is put out a single and
hope to get on some playlists, Hope people include it
on their favorite playlist or whatever like that.
Speaker 2: Yeah, and that, yeah, you stay visible to yeah exactly. Yeah,
and a lot.
Speaker 16: I mean, you know, you can do a show and
one person might come up and say, do you have
a CD for sale? You know, and but most of
the time not, you know what I mean, because people
don't think of it that way.
Speaker 15: They don't put ring cars anymore, so you are Yeah,
that's true, that's true.
Speaker 16: I've just kind of moved away from that, and periodically
I think, oh, I should put it all together in
a CD project, and then I think, you know why,
yeah you know, yeah, So that's my that's my theory
on it.
Speaker 2: Anyway. Yeah, Well, listening habits have changed, Yeah, oh absolutely, yeah. Change.
Speaker 16: Like I said, what I like about most of it
is doing a song, putting your all into it, getting
the best mix you can, and then moving on.
Speaker 2: To the next one. Yeah. Yeah, you know what I mean.
It keeps you know, it keeps you writing, it keeps you,
you know, working like that, you know. Yeah.
Speaker 14: Yeah, there's so many different ways now to release music
and so many different strategies you should use, and you
know that's that's all changed too. Yeah, and yeah no,
it's uh, technology has just changed everything. But but yeah,
but it's like you know, you kind of you do
have to kind of feed the machine, feed that algorithm.
Speaker 5: You know.
Speaker 16: Really, the CD period was a very short period and
musical history, right, I mean you probably remember singles where
you get a forty five Yeah, you know in that
you know, I mean it was one song.
Speaker 2: Side or whatever.
Speaker 14: I might I might be you look good, I might
thank you, thank you, I'm moisturized, I stay hydrated. But yeah,
it's some some of the artists we have on the
show have kind of recommitted to physical media just because
you know, sometimes if you're a fan, it's it's nice
to have liner notes and things like that.
Speaker 2: But miss that yeah there with the album cover, Yeah, that's.
Speaker 14: The best, Like the Vinyl the gatefold, you know, and you.
Speaker 15: Can against mixing art mediums. You know, you have the
music and you have the art that was exactly record
cover exactly.
Speaker 3: Yeah.
Speaker 14: Yeah, absolutely, well, gentlemen, so that the time goes quickly.
We will do this again in the future, though.
Speaker 2: I would love to come back.
Speaker 14: I'd love to have you guys got stories man, Yeah yeah, yeah,
and especially too as you're releasing new music, because you know,
you keep putting out new stuff. So yeah, so that's
that's an easy excuse to get you back on. But
in the meantime, we should close our segment with one
more track.
Speaker 2: What would you guys like to Uh, yeah, we could
do only you, only you, only you, man. Ay, this
is the one that came before go on and break.
Speaker 14: It's only you, okay, anything we should know about this?
Speaker 2: Yeah, this one I don't remember.
Speaker 20: Uh.
Speaker 2: This is a track we revisited though, okay, yeah, because
from a while ago. Okay, we did it back in
the day.
Speaker 16: I don't remember the specifics are right in this one though,
in particular, you know, it's.
Speaker 2: Just okay, you know I can't do in a dream? Yeah, yeah,
that's poetic.
Speaker 14: Yeah, right, And before we spend this anything. What should
our listeners know about how to find you guys online?
What's the best place to go to keep up with everything?
Speaker 2: The Murphy Clark. We have a Facebook. I run it.
Speaker 16: So if you think I suck at Facebook, you're right.
So I do this social media so you'll you'll you'll
know that.
Speaker 14: Yeah.
Speaker 15: The channel, the YouTube channels great though. Yeah, there's a
lot of stuff. There's live videos on there. And okay,
it's Murphy Clark. Just if you tell you in Murphy Clark,
it'll come up, okay, okay. And we appreciate anybody adding
adding a song to their their favorite playlist or whatever.
Speaker 2: Yeah, you appreciate it. And if if somebody writes something
on YouTube, we see it.
Speaker 15: Jen's gonna paint to one of the Yes, yes she is.
And if anyone wants to dance naked, that's fine too.
Speaker 14: You can do that, you know, absolutely, not here, not here.
Speaker 2: We can that.
Speaker 14: The cameras are on and I don't think we're zoned
for it.
Speaker 2: Yeah I should. I should have done some sit ups
or something.
Speaker 16: As far it's gonna appear naked, I look pretty sure
in the park if you give me a chance.
Speaker 2: Well, like I said, we will have you back, so
we'll thanks for everything and thank you for your commitment. Everyone.
You know, we really appreciate that, like thank you, just
like Kate over it.
Speaker 16: You know the listening room. The dedication and devotion that
people have is so important, you know what I mean.
Speaker 2: It means a lot to us.
Speaker 14: Oh yeah, I mean no, we we love it, you know,
Jenny and I love to I appreciate that absolutely, absolutely,
so we will. We'll close out the segment with only
You Man. That's the title of this track, Only You
Oh it's just only you Okay. I was sure because
it says only you Man on here, but it says
only you Man mixed, so I don't know if it was.
Speaker 15: The band from my studio to name stuff what I
want to name it. Yeah, that's not the name of
the song, smell, it's it's just from my file.
Speaker 14: I got I gotcha, I gotcha all right. And if
you are listening live on Saturday morning, Aaron Bildo is
coming up next in the third hour, so stick around
for that. He's going to play live. But guys, thank
you again. Brian Murphy and Mike Clark from the Murphy
Clark Band, and here it is only you.
Speaker 3: It's all right when your suffer, it's all right when
you cry.
Speaker 7: Up.
Speaker 3: Pick you well, I'll thank.
Speaker 4: You for did you recall down and be coming down.
Speaker 6: I'll dry your.
Speaker 3: Does on man only.
Speaker 4: Man only.
Speaker 3: Like myself.
Speaker 4: I sh like myself.
Speaker 5: I shrike myself much like myself.
Speaker 3: I'll much like man. And in the night when your
heart is broken, Oh god son, nest you.
Speaker 7: S seeking.
Speaker 4: Satime, I will not.
Speaker 21: Pretty suse your own only like myself, uns.
Speaker 5: Like myself, unch like myself, unsup myself.
Speaker 3: I'm much like me. It's alright when yourself.
Speaker 2: Right, when you come, so you.
Speaker 3: Ever make, you should use me for Jamie.
Speaker 21: I will not put sid's cause.
Speaker 3: Man only you, man on.
Speaker 4: Only you.
Speaker 3: Only what stack the sell.
Speaker 17: My s stack myself, myself my side much like it's
us
Speaker 3: Into the