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Speaker 1: Do you in any Cripson domas.

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Speaker 2: Well.

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Speaker 3: I won't come this morning news day was to day.

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Speaker 4: Someone will be shining and love blood turns the bread

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put all my.

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Speaker 5: Mistress, but.

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Speaker 1: Still not sure.

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Speaker 5: Whether day will take the bag.

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Speaker 6: Look cure.

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Speaker 4: Well, I'm sorry if I hurt you.

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Speaker 1: I knew this had to be done.

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Speaker 4: You could be and everybody's doctor.

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Speaker 7: And everybody's son Robin links they ten to me, someone's

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got appear.

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Speaker 4: Well, you came around the corner and my problems went.

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Speaker 8: Away because of speeds be spine spine.

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Speaker 9: Who yeah, some spears spis spinny. Speedis spine sp well,

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actual dance.

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Speaker 4: In the road as you dance in the streets. I

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should dunce till my fingers burn, my skip a beat.

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I should dust till I say you can't find a

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bitty as you.

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Speaker 9: Dunce till you said me spinning to the yammis speedies

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spinis speed wo we hear some spiniches.

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Speaker 1: Speedis speed. I didn't know about.

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Speaker 3: Your sister, I didn't know about your car. I didn't

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know what you were back when.

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Speaker 10: Now so you from a bar.

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Speaker 11: You came out with lohing, didnest trouble on your mind?

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Speaker 12: Oh, trouble.

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Speaker 5: You ain't seen nothing of this kind.

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Speaker 9: Spinis speedis speedy speediars spedis speed when we hear some

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speedies sped SPEEDA.

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Speaker 13: That is quite catchy. Indeed, that is Naked Without It

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from the UK, and we have these guys on with

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us via Skype. We're going to introduce them in just

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in a moment. This is Matt Connorton Unleashed and we

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are live from the studios of w m n H

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ninety five point three FM and Glorious Manchester, New Hampshire.

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Of course you can stream the show at Matt connorton

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dot com slash Live. Jenny is here as well at

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the news table, president account for and joining us via Skype.

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We have Tony and Martin from Naked Without It. Hi, guys,

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can you hear me? H?

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Speaker 1: Yeah?

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Speaker 13: Awesome, awesome. It's always a little nerve wracking with a

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transcontinental Skype call because it doesn't always work out, so

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it's nice when it does. But great, great to have

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you guys here with us this morning. So what what

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do you each do in Naked with Out It? What

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are your roles respectively?

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Speaker 6: Tony and I play rhythm guitar and I sing okay,

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and I'm Martin. I play all the other guitar and

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do a bit of BVS as well.

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Speaker 13: Yeah, okay, okay, very good, very good. Now that song

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spinning is it's very catchy. And I noticed all your

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songs are are like that. They're very easy to to

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kind of sing along to. Has that always been, uh?

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Has that always been kind of them? Is of naked

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without it? Have you always written songs that are, you know,

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just very accessible and just kind of get stuck in

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your brain? Has that always been been kind of the approach?

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Speaker 1: Yeah, we do.

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Speaker 14: We do like a chorus, and we do like a

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sing along. Yeah, we do like a sing along when

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we play live. And we started when we started out, well,

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we started out a few years ago.

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Speaker 1: We did a.

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Speaker 14: An online interview during COVID, So we did an online interview,

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and I can remember I always say, I can always

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remember my in saying to me at the time, you know,

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just wait, we're the entertainment. So it sort of dawned

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on me then that, you know, our job really was

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to entertain So I've always sort of found there was

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no point doing heartfelt songs that people aren't going to catch.

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I suppose there's a place, but but for us, it

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doesn't really work. So we're here to entertain, really, and

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I think a big chorus is a way of entertaining.

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Speaker 13: Yeah, oh absolutely, I'm interested in So the these songs

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that we're playing, these are from an album called Singles Club.

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Speaker 1: Yes, indeed, Now tell me.

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Speaker 13: If I have this right. And there's a specific reason

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why this is so interesting to me. Uh, this is

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a series of Did you release these each individually as

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singles and then compile them into an album called Singles Club?

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Is that was that your approach to this?

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Speaker 10: Yeah?

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Speaker 2: It did.

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Speaker 13: Yeah, Okay. The reason I'm the reason I'm so curious

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about it is because this has been a topic of

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conversation on the show. You know, I'm old enough to remember,

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and I suspect you guys are too. When there was

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really kind of a standard way of doing things. You know,

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you've got an album coming out, first single goes to

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radio maybe six to eight weeks before the album's coming out.

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Then the album comes out, then you have the second

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single and so forth. And it was, you know, everybody

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released albums. Somebody might occasionally release an EP, but that's

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sort of the old record company model. Now we live

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in an era where, because of the Internet, there's so

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many different ways you can approach it. You can release albums,

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you can release EPs, you can just put out singles

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forever and never release an album. But I've noticed, especially

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in the past couple of years, a lot of the

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guests that we have, their approach is, rather than putting

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out an album and a series of singles, releasing a

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series of singles that eventually become an album. And it

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seems like you guys have kind of taken it to

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a new level where it's like, that's clearly what this is,

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because you're calling the album Singles Club because it's literally

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a collection of singles, and I think that's very interesting

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that you've taken that approach.

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Speaker 1: But yeah, exactly.

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Speaker 14: We back in twenty twenty two, we were talking about

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what we were going to do because we'd done one album.

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We did a first album, Habits Far Too Bright, which

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was along the same lines, along the normal lines, you know,

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we got it all together, we released it as you

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should sort of thing, and then we had a conversation

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and just sort of said that music's a bit more

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immediate now. Nobody sort of wants to wait for anything.

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Everything is done straight away, so we sort of thought, well,

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we'd we'd instead of instead of holding things back, what

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we would do is we would plan to release a

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single every six weeks, and then at the end of

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it we did add the intention of putting out like

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the Hard Hard CD version. Of course, we didn't actually

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realize because we didn't work this one out very well.

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Is that when we decided that in twenty twenty two

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to do twelve singles, it was going to take us

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seventy two weeks. So we didn't realize we were actually

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committing ourselves to a year and a half's work, which

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was recording. You know, we've got a recording release it,

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you know, or the or the artwork, publicizing, et cetera,

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and then we're on to the next one and on

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to the next one.

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Speaker 1: But yeah, we did it. We got we got a

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little bit random every every now and again.

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Speaker 14: But yeah, seventy two weeks later we ended up with

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the Singles Club album, So yeah, and we're really happy

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with it.

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Speaker 13: Was that was that a difficult decision for you both

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because obviously, you know, we're all or we all were

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used to doing it the old way. I mean, it

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was this something. Did you put a lot of thought

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into is this really the right way to approach it?

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Or maybe it instinctively just felt right and obvious to you.

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I mean, was that a difficult decision to come to

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or did it come easy?

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Speaker 6: I think we thought that, you know, like, because people

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generally will stream a song or they like a songs,

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so we thought, if we just keep giving them songs,

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you know, spaced out rather than just all together, there's

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more chats that they might listen to more of what

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we do rather than here's an album or what's the single,

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I'll listen to that and ignore the rest.

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Speaker 13: So yeah, yeah, and it just.

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Speaker 10: It just kept it free for us as well.

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Speaker 6: And it was a good, you know kind of time

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to keep working on things and you can change things,

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you know, as you know, you can start with a song,

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but then over time it might evolve into something slightly differently.

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So with a six week gap, if you like, in

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between what we were doing, we did have that luxury

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of saying, well, actually, maybe we should change this a

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little bit and we can try things out and you know,

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give a few different ideas. So from a you know,

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from actually a creative point of view, it was quite helpful,

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rather than we have to get the album done within

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this amount of time and then once it's done, that's it.

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Whereas with this you know you're only doing one song

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at a time essentially. So yeah, we had a bit

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more bit more flexibility.

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Speaker 14: So and we had a bit of engagement from like

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the people that come and see us play, because of

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course they knew something was coming in six weeks time,

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so people we're asking us when the next one's due,

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when's the next one due?

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Speaker 1: Which which was nice. So yeah, kept us on our toes.

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Speaker 13: Really, yeah, I can see how it would be kind

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of liberating to be able to approach it this way.

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And something else too that we talk a lot about

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on the show is the importance of adaptability to a

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constantly changing music industry. And uh, in fact, that was

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a big subject in some ways in the in the

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in the previous segment that we were doing. So is

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this going to be the new approach going forward? Do

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you think you're going to keep doing it this way?

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Or I mean, obviously you're promoting this album singles club,

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these singles that have become an album, so I don't

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know if you're even thinking that far ahead, But are

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you thinking about kind of the future or are you

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in the moments just more focused on promoting what you've

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what you've just released recently.

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Speaker 14: Well, I mean absolutely we we We had a gig

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last night, and we basically went into studio this morning

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and recorded the basics of like the first three tracks

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for something that's planned for later on in the year.

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Speaker 1: I mean, I constantly write lyrics.

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Speaker 14: Lyrics just keep coming, so we keep we write them down,

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and then we work on the ideas.

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Speaker 1: We live.

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Speaker 14: About one hundred miles apart. Oh no kidding, So we

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so we've sort of been break the technology. So we

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send each other ideas all the time via WhatsApp, and

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then so we pass some sort of forwards and backwards

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like that, and you know, we work on bits at

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the other end, and then we sort of come together

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for gigs. We were saying today, we don't really rehearse

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very much because we just sort of we do. If

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we do, I rehearse my bits. My rehearses is bits,

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and then and then we bring them together at gigs.

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Speaker 1: Generally.

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Speaker 14: Yeah, and we're quite We're pretty disciplined, to be honest.

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So we're well, i'd say we are. I mean, if

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you if you see us live, sometimes we're not particularly

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just discipline. Some of the crowd know the lyrics better

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than I do. Sometimes it's just a bit embarrassing, especially

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when Yeah, sometimes so if I go into the wrong

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verse and somebody will give me a look.

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Speaker 1: From the crowd and you'd be, oh, okay, cheers right

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right my song?

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Speaker 2: I like.

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Speaker 13: You know, that's another you know, in terms of being

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able to send tracks back and forth on WhatsApp. I mean,

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that's another example of how, you know, being able to

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adapt to the changing technology and the changing dynamics of

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the industry is so important. And I always say this

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comes up a lot too reflecting on the pandemic. You know,

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the pandemic was terrible, but we have to find these

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silver linings where we can. And I think one of

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those few silver linings was it kind of forced people

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creative people, I think musicians in particular, to kind of

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find new ways to create and to get comfortable with

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creating from a distance. Like you guys said, you know,

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you're one hundred miles apart, and you know, I think

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for a lot of people pre pandemic, the idea of

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even being able to work that way even though the

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technology was already there and has been there for a while,

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to be able to you know, just send tracks back

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and forth online. I think I think a lot of

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people pre pandemic were resistant to that, who then became

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comfortable with it, who now now it's very freeing because

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it's just another way to create, and to be able

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to create and collaborate with somebody who is one hundred

246
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miles away is really cool.

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Speaker 1: Yeah. We did, I mean we did in Lockdown.

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Speaker 14: We sat, we we started, we were doing a few

249
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there was a few internet radio sort of shows, but

250
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we also did sort of gigs at home. Yeah, you know,

251
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we we we got into when the times we were toge,

252
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we got together and just sort of uh played played

253
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that played an online gig sort of like on Facebook

254
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Live or something like that, because it was a way

255
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of still getting still getting the gigs done if you

256
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do enough promotion before and get everybody sort of aware

257
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that it's going to happen and make a bit of

258
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a party of it.

259
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Speaker 1: It worked for us. So yeah, that was good.

260
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Speaker 6: So we released our first EP the week before Lockdown happened.

261
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We did, so it wasn't our fault just so yeah,

262
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So we didn't get a chance to go and play

263
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it live, and so we had to find a way

264
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to do it, you know, still get the music heard.

265
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So we did, you know, we did one of those

266
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videos where we were calling our bit separately pieces together,

267
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trying to find out how that technology works. Like you say,

268
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I mean, it was kind of figuring out a lot

269
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of stuff very quickly that you could promote, you know,

270
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our new product, because we were very excited about it

271
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at the time, and and you know, you want people

272
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to hear it. And it was, you know, amazingly bad

273
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timing from that point.

274
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Speaker 13: Well, to be fair, I mean, there's never a good

275
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time for a plague.

276
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Speaker 1: True.

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Speaker 13: You guys also too, So I was reading an in

278
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your bio. Did you guys work together previously and then

279
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you took a really long break and then came back

280
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together in twenty nineteen.

281
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Speaker 6: Yeah, we did, yeah, yoga, but we many years ago. Yes,

282
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it's could be or nearly thirty years ago. I know,

283
00:14:40,519 --> 00:14:41,960
we don't look that old, but we can't see it's

284
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on radio. So we we used we bet we're in

285
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different bands in the same kind of area, and Tony

286
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and I we got together and we used to play

287
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you know, just as a duo, just acoustic guitar, and

288
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we worked on some stuff and did a couple of gigs,

289
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and then you know, we kind of went off and

290
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you know, moved places, and you know, there's no.

291
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Speaker 10: Big falling out, there's no big kind of showbiz.

292
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Speaker 1: Argument that we just you know, we just kind of

293
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moved and didnder for well.

294
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Speaker 6: And then the bands that we used to be in,

295
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we we had the same drummer in both bands, and

296
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he sadly died in twenty nineteen.

297
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Speaker 1: So we met up at the funeral.

298
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Speaker 6: At his funeral, had half a glass of sherry, and

299
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I thought maybe it was time to get the band

300
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back together.

301
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Speaker 10: So and it was kind of funny.

302
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Speaker 6: Because we you know, see, we lived quite a distance apart,

303
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and I went over for the weekend and I put

304
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my guitar down in Tony's man cave on the first.

305
00:15:36,919 --> 00:15:38,600
Speaker 1: Day and it kind of stayed there. We just you know,

306
00:15:38,639 --> 00:15:41,320
we just hung out and talked and it was almost oft.

307
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Speaker 10: Time to go home.

308
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Speaker 6: So the next day and we said, well, we should

309
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probably have a go and see what was just like

310
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because I think there was a little bit of apprehension

311
00:15:47,799 --> 00:15:49,600
that it had been so long and you know, it

312
00:15:49,679 --> 00:15:52,440
was remembered very fondly and you don't know how things

313
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are going to be all those years later. And for

314
00:15:55,600 --> 00:15:57,039
me it was great because he still had his old

315
00:15:57,159 --> 00:15:59,480
songbook that we used to play from back in the day,

316
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all the han and the lyrics and h.

317
00:16:04,080 --> 00:16:04,279
Speaker 15: And so.

318
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Speaker 6: Yeah, so we just started playing these songs we hadn't

319
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played together in twenty.

320
00:16:07,600 --> 00:16:10,159
Speaker 1: Five years, and it still sounded great and we thought,

321
00:16:10,200 --> 00:16:12,559
you know, maybe we've we should pursue this.

322
00:16:12,639 --> 00:16:14,559
Speaker 6: And you know, so we had some ideas of original

323
00:16:14,639 --> 00:16:17,399
songs and we started playing over those and ye went

324
00:16:17,960 --> 00:16:20,399
to an open mic night and we'd give it a

325
00:16:20,440 --> 00:16:21,960
bash and it went there really well.

326
00:16:22,039 --> 00:16:26,120
Speaker 1: So we thought, well, you know, do you have do

327
00:16:26,159 --> 00:16:27,600
you have an open mic night over there?

328
00:16:28,480 --> 00:16:28,600
Speaker 16: Oh?

329
00:16:28,720 --> 00:16:30,600
Speaker 13: Yeah, that's very common here.

330
00:16:30,799 --> 00:16:32,039
Speaker 1: Yeah, okay, yeah yeah.

331
00:16:32,039 --> 00:16:36,480
Speaker 14: So we literally went into into my town and there

332
00:16:36,559 --> 00:16:38,159
was like an open mic night and we went up

333
00:16:38,240 --> 00:16:39,399
and just sort of played.

334
00:16:39,440 --> 00:16:40,600
Speaker 1: We did a couple of songs.

335
00:16:40,639 --> 00:16:42,879
Speaker 14: We played three songs, and then we sort of looked

336
00:16:42,919 --> 00:16:45,000
at the fellaw who was comparing it, and just sort

337
00:16:45,000 --> 00:16:48,440
of said, you know, should we do another one?

338
00:16:48,600 --> 00:16:50,480
Speaker 1: And he just he just said, well, play as long

339
00:16:50,480 --> 00:16:50,919
as you like.

340
00:16:51,440 --> 00:16:54,200
Speaker 14: And we were like, oh, okay. So we realized then

341
00:16:54,240 --> 00:16:56,960
that we obviously had something going on that people liked.

342
00:16:57,080 --> 00:16:59,440
So that was where we sort of said, well, let's

343
00:16:59,440 --> 00:17:02,200
give it another and five years later this is where

344
00:17:02,279 --> 00:17:02,519
we are.

345
00:17:03,159 --> 00:17:05,559
Speaker 10: Older, definitely older.

346
00:17:05,799 --> 00:17:06,480
Speaker 1: Two albums in.

347
00:17:06,640 --> 00:17:12,000
Speaker 13: Yeah, so on Singles Club, are any of these songs?

348
00:17:13,440 --> 00:17:15,640
Are these new? Or do some of these go back,

349
00:17:16,200 --> 00:17:17,160
like way way back?

350
00:17:17,880 --> 00:17:18,000
Speaker 1: Now?

351
00:17:18,960 --> 00:17:21,720
Speaker 14: One of them, Yeah, one of the flowers goes way

352
00:17:21,759 --> 00:17:24,319
way back. That goes right back to my old band,

353
00:17:24,359 --> 00:17:28,440
which was called Just Another Girl, which is an old

354
00:17:28,960 --> 00:17:32,000
Johnny Thunders song was that the band was named after.

355
00:17:32,319 --> 00:17:33,759
Speaker 13: Okay, so yeah, that.

356
00:17:34,039 --> 00:17:36,079
Speaker 1: Flowers goes right back to them. So that's the only

357
00:17:36,160 --> 00:17:36,839
one we've kept.

358
00:17:36,960 --> 00:17:39,400
Speaker 14: The rest of them are all sort of are all

359
00:17:39,519 --> 00:17:43,640
new stuff that we've we've been putting together. So but

360
00:17:43,880 --> 00:17:49,000
I mean, yeah, I mean, Spinning is spinning, Spinning is

361
00:17:49,079 --> 00:17:54,119
very recent, Molly's very recent. Yeah, I mean most most

362
00:17:54,119 --> 00:17:56,200
of them are now. They're literally in the last sort

363
00:17:56,240 --> 00:17:57,799
of year or so. But as we said, we released

364
00:17:57,799 --> 00:17:59,519
them as singles going through and now we're sort of

365
00:18:00,160 --> 00:18:02,240
we're finding a way to repromote them and they're all

366
00:18:02,319 --> 00:18:03,200
coming back through.

367
00:18:03,759 --> 00:18:03,960
Speaker 1: Yeah.

368
00:18:04,480 --> 00:18:08,680
Speaker 13: Oh that's awesome. Do you guys ever perform with other

369
00:18:08,839 --> 00:18:13,200
musicians because obviously as an acoustic duo there's there's an

370
00:18:13,240 --> 00:18:15,920
opportunity there to bring other people up up with you.

371
00:18:16,359 --> 00:18:17,799
Or do you always keep it to just the two

372
00:18:17,839 --> 00:18:18,000
of you?

373
00:18:19,000 --> 00:18:21,359
Speaker 6: It's always, yeah, just the two of us actually, So

374
00:18:21,559 --> 00:18:23,880
I mean that's part of our you know thing. It's

375
00:18:23,920 --> 00:18:26,799
two two acoustic guitars and two voices really, so yeah,

376
00:18:26,960 --> 00:18:29,000
we work hard at is trying to make that as

377
00:18:29,200 --> 00:18:31,839
interesting as possible, you know, because we you know, as

378
00:18:31,839 --> 00:18:33,680
I would say, we're like a live band, but we're

379
00:18:33,920 --> 00:18:35,799
just you know, just two guitars, so we sort of

380
00:18:36,000 --> 00:18:38,359
make it quite percussive and and you know, trying to

381
00:18:38,400 --> 00:18:40,359
fill out the sound rather than it being that you know,

382
00:18:40,440 --> 00:18:43,240
sort of stereotypical you know, strumming away and doing that.

383
00:18:43,400 --> 00:18:45,720
So yeah, that we try and make that kind of

384
00:18:45,759 --> 00:18:48,720
bring that energy to the acoustics side rather than you know,

385
00:18:48,799 --> 00:18:49,759
bringing out other instruments.

386
00:18:49,799 --> 00:18:52,279
Speaker 14: So yeah, we also like we we also we like

387
00:18:52,400 --> 00:18:55,000
to involve the audience. I like to involve the audience.

388
00:18:55,599 --> 00:18:59,000
We like to involve the audience a lot. We we've got.

389
00:19:00,680 --> 00:19:03,440
Speaker 1: What's the what's the harmony in that they do? Oh

390
00:19:03,640 --> 00:19:07,079
in in flowers, well in the song Flowers.

391
00:19:07,119 --> 00:19:09,960
Speaker 14: When we play Flowers live, it's very strange because there's

392
00:19:09,960 --> 00:19:12,440
about four or five people in the audience who've worked

393
00:19:12,480 --> 00:19:16,799
out their own back in vocals for it, and I

394
00:19:16,839 --> 00:19:19,359
always forgets. We played last night in a place called

395
00:19:19,400 --> 00:19:21,519
Camberly and we were playing it and I'd forgotten that

396
00:19:21,640 --> 00:19:23,799
that they do that. So we come into it and

397
00:19:23,880 --> 00:19:27,079
when we it's like an acoustic bit for me and

398
00:19:27,240 --> 00:19:29,960
literally they start with their woe woe woes in the background.

399
00:19:30,000 --> 00:19:31,279
Speaker 1: You say, oh, it's just brilliant.

400
00:19:31,759 --> 00:19:36,079
Speaker 14: And we have another song called one too Many, which

401
00:19:37,200 --> 00:19:38,799
I think you've you've been sent. I'm not sure if

402
00:19:38,839 --> 00:19:41,519
you played it, but it's one too Many, and we

403
00:19:41,759 --> 00:19:45,799
do that as a call and response song. So basically, we,

404
00:19:46,279 --> 00:19:47,880
as I said last night, we try and we don't

405
00:19:47,920 --> 00:19:50,319
make it to it's not very it's not singing, it's

406
00:19:50,400 --> 00:19:51,599
not there's nothing.

407
00:19:51,400 --> 00:19:52,000
Speaker 1: Clever about it.

408
00:19:52,079 --> 00:19:52,240
Speaker 2: Really.

409
00:19:52,359 --> 00:19:55,039
Speaker 1: I shout one too many, they shout one too many back.

410
00:19:56,079 --> 00:19:58,079
Speaker 14: But but the way it works out, it's worked out

411
00:19:58,200 --> 00:20:00,559
very nice because we can then we have if we

412
00:20:00,799 --> 00:20:03,839
if we've got a reasonable audience that will will send

413
00:20:04,000 --> 00:20:06,000
like we'll play the left hand side of the audience

414
00:20:06,039 --> 00:20:08,400
off against the right hand side of the audience, which

415
00:20:08,480 --> 00:20:09,319
is brilliant.

416
00:20:09,400 --> 00:20:10,240
Speaker 1: It's brilliant fun.

417
00:20:10,480 --> 00:20:13,039
Speaker 14: There's some videos on YouTube of that, actually videos of

418
00:20:13,079 --> 00:20:16,920
YouTube snaking it on YouTube. We did one at the

419
00:20:16,960 --> 00:20:22,519
Carlton Tavern and the promoter, Fella Tom Bright, actually filmed

420
00:20:22,559 --> 00:20:25,240
it from behind us, so you can see the audience

421
00:20:26,480 --> 00:20:28,240
shouting back at us, which is really good.

422
00:20:28,599 --> 00:20:30,319
Speaker 1: And that's a really good idea. That gives you a

423
00:20:30,359 --> 00:20:31,680
really good flavor of what we dove.

424
00:20:32,559 --> 00:20:32,960
Speaker 17: That must be.

425
00:20:33,400 --> 00:20:35,559
Speaker 13: That must be such a great feeling too. You know,

426
00:20:35,720 --> 00:20:38,960
to have fans, you know, dedicated fans who you know

427
00:20:39,119 --> 00:20:42,079
are well at one but you know, on one song

428
00:20:42,160 --> 00:20:45,559
making up their own backing vocals, that's gonna be amazing.

429
00:20:46,279 --> 00:20:48,839
Speaker 14: Well, the other thing, I mean, as you just played Spinning,

430
00:20:49,000 --> 00:20:52,880
and we said when when When we first played Spinning,

431
00:20:53,880 --> 00:20:56,119
we played it in a little pub in a little

432
00:20:56,240 --> 00:21:00,759
place called Bracknell in Barkshit, and we started we started

433
00:21:00,759 --> 00:21:02,759
playing and I always said it sounded like there should

434
00:21:02,799 --> 00:21:04,440
be there should be a line dance for it or

435
00:21:04,440 --> 00:21:06,519
something like that. But when we started playing it, there's

436
00:21:06,519 --> 00:21:08,839
a couple that come and see us called Paul and Jenny.

437
00:21:09,240 --> 00:21:12,079
And one of the first times we played it, Paul

438
00:21:12,160 --> 00:21:14,960
literally just got up and started spinning in the chorus,

439
00:21:15,400 --> 00:21:18,240
which which is as you say, it's amazing, and people

440
00:21:18,319 --> 00:21:21,200
don't know the people that if we like last night,

441
00:21:21,240 --> 00:21:23,559
we were supporting a band called three Times seven, so

442
00:21:23,759 --> 00:21:27,359
their crowd were there. And because when Paul gets up

443
00:21:27,400 --> 00:21:30,279
and start Paul and keV were both up spinning last night,

444
00:21:30,599 --> 00:21:32,920
their their crowd can't really work out what's going on?

445
00:21:33,039 --> 00:21:36,920
Why are these people suddenly? And that's what it's really good.

446
00:21:37,079 --> 00:21:40,400
We play as well. We play in we do some

447
00:21:41,039 --> 00:21:46,039
Saturday afternoon shows in HMV stores. Oh okay, so we

448
00:21:46,160 --> 00:21:48,319
do them in record shops as well. And we did

449
00:21:48,440 --> 00:21:51,319
one in Woking in Surrey a few weeks ago, and

450
00:21:51,720 --> 00:21:54,200
Paul came and Paul's actually spinning through the aisles of

451
00:21:54,240 --> 00:21:58,039
an HMV on Saturday afternoon, which which was quite quite

452
00:21:58,039 --> 00:21:58,960
amusing for the shoppers.

453
00:21:59,000 --> 00:22:01,880
Speaker 10: I promise you security not quite so impressive.

454
00:22:03,440 --> 00:22:07,119
Speaker 13: Oh that's very cool, that's very cool. When you guys played,

455
00:22:07,599 --> 00:22:09,880
I imagine, I mean you must have enough material to

456
00:22:10,279 --> 00:22:12,680
play a long time, right, Like do you do multi

457
00:22:12,759 --> 00:22:14,240
hour shows? You do long shows?

458
00:22:15,559 --> 00:22:17,119
Speaker 1: We could do.

459
00:22:17,440 --> 00:22:19,519
Speaker 14: I mean the thing is we do we do if

460
00:22:19,559 --> 00:22:21,160
we just if we set up our own gigs and

461
00:22:21,240 --> 00:22:23,279
we do our own shows. Then we do then we'll

462
00:22:23,319 --> 00:22:26,680
do a long set, we'll do two sets. Yeah, we

463
00:22:26,759 --> 00:22:30,039
do them when we can. Generally, as the hmvs are

464
00:22:30,039 --> 00:22:33,079
about forty five minutes. If we get support slots like

465
00:22:33,200 --> 00:22:35,000
last night, we've only got like half an hour.

466
00:22:35,359 --> 00:22:37,480
Speaker 1: So as we said, we just do the bangers. Basically,

467
00:22:37,599 --> 00:22:39,359
we do the ones that are going to get.

468
00:22:39,279 --> 00:22:43,279
Speaker 14: People up, get people singing, and get people entertained, because

469
00:22:43,359 --> 00:22:47,519
sometimes being an acoustic show, we sometimes get paired with.

470
00:22:49,079 --> 00:22:52,400
Speaker 1: Quiet, nice acoustics.

471
00:22:51,839 --> 00:22:55,359
Speaker 14: Sort of you know, you know, not what we're like

472
00:22:55,440 --> 00:22:58,440
at all, and we are a little we do see

473
00:22:58,440 --> 00:23:01,400
it as a little bit competitive where we will come out,

474
00:23:02,119 --> 00:23:05,400
blow the place away, have everybody singing, and then all

475
00:23:05,440 --> 00:23:07,039
of a sudden, someone's got to come up and play

476
00:23:07,079 --> 00:23:10,000
something really quiet, which is what was it?

477
00:23:10,039 --> 00:23:12,839
Speaker 10: A girl said, well, she apologized that she wasn't as

478
00:23:13,359 --> 00:23:14,000
cheerful as us.

479
00:23:14,720 --> 00:23:16,279
Speaker 14: We have The next girl that was on after us

480
00:23:16,279 --> 00:23:18,400
in one of the London gigs came on and apologize

481
00:23:18,440 --> 00:23:19,599
to the crowd that she wasn't going to be as

482
00:23:19,680 --> 00:23:20,440
cheerful as we were.

483
00:23:20,559 --> 00:23:22,240
Speaker 13: Oh that's funny, that's great.

484
00:23:24,559 --> 00:23:28,599
Speaker 6: So when we do those in longer shows, because you know,

485
00:23:29,079 --> 00:23:31,559
we've got quite a lot of material now, and you know,

486
00:23:31,680 --> 00:23:33,799
obviously you always get excited about the newer stuff and

487
00:23:33,920 --> 00:23:34,599
you want to play that.

488
00:23:34,720 --> 00:23:37,240
Speaker 10: And there's always the odd song that we haven't done.

489
00:23:37,079 --> 00:23:39,079
Speaker 6: In ages and someone says, oh, I love that song,

490
00:23:39,160 --> 00:23:40,519
you should bring that back, and then we sort of

491
00:23:40,599 --> 00:23:42,960
have to go back and go okay, So you know,

492
00:23:43,079 --> 00:23:45,240
and that's the thing I think like with any music,

493
00:23:45,319 --> 00:23:47,599
once it kind of is out there, it belongs. It

494
00:23:47,599 --> 00:23:49,440
doesn't belong to us anymore. You know, we're just kind

495
00:23:49,480 --> 00:23:52,559
of playing what people want to hear. Really, so that's

496
00:23:53,519 --> 00:23:55,519
that's always quite nice because it's not always what you think,

497
00:23:55,519 --> 00:23:57,680
because you can think, well, that's the one that people

498
00:23:57,720 --> 00:23:59,440
will love, and actually they pick.

499
00:23:59,359 --> 00:24:02,079
Speaker 10: Something else, which is you know, is always an interesting is.

500
00:24:03,599 --> 00:24:05,720
Speaker 14: I was talking with Tom Bright again about that. Funny enough,

501
00:24:05,759 --> 00:24:07,960
we were saying about right because I write the lyrics.

502
00:24:08,000 --> 00:24:10,960
So we write lyrics, and you know, they they mean

503
00:24:11,079 --> 00:24:14,720
things to me. But once you once they're out there

504
00:24:15,119 --> 00:24:17,680
as far as once to me, and Tom were saying

505
00:24:17,720 --> 00:24:19,680
that once they're once they're out there, they're literally that

506
00:24:20,240 --> 00:24:22,200
other people will find their own meanings for them. So

507
00:24:22,720 --> 00:24:25,079
I'm not precious about the meaning that I have, and

508
00:24:25,759 --> 00:24:28,759
it will mean something different to other people. So on,

509
00:24:28,960 --> 00:24:31,440
once they're out there there, there's there's different meanings they're

510
00:24:31,480 --> 00:24:33,119
they're they're out there, there are other people as far

511
00:24:33,160 --> 00:24:34,240
as I'm concerned.

512
00:24:34,519 --> 00:24:37,319
Speaker 13: Yeah, well that makes sense. I mean, art is subjective

513
00:24:37,640 --> 00:24:40,720
and everyone can kind of interpret, you know that art,

514
00:24:40,799 --> 00:24:43,039
whether it be lyrics or anything else however they want.

515
00:24:44,079 --> 00:24:48,640
I always it doesn't. This doesn't happen now, But I

516
00:24:48,799 --> 00:24:52,279
remember being a kid, uh and uh not as uh,

517
00:24:53,079 --> 00:24:55,400
you know, not understanding these concepts as well. And if

518
00:24:55,440 --> 00:24:57,119
I if I thought a song, if I heard a

519
00:24:57,200 --> 00:24:59,960
song that I really liked that I thought meant something specific.

520
00:25:00,119 --> 00:25:01,799
It meant something specific to me, and then I read

521
00:25:01,839 --> 00:25:05,240
an interview with that author, you know, whoever wrote the

522
00:25:05,319 --> 00:25:08,440
lyrics or or or an author if it's a if

523
00:25:08,440 --> 00:25:10,319
we're talking about instead of a song, about a book

524
00:25:10,400 --> 00:25:12,839
or a poem or something, and then it turns out

525
00:25:13,079 --> 00:25:16,759
that their intended meaning was different than what I thought

526
00:25:17,440 --> 00:25:20,160
it meant, you know, to me the way I interpreted it,

527
00:25:20,279 --> 00:25:22,920
I would actually be a little bit disappointed, like, oh

528
00:25:23,200 --> 00:25:24,079
I thought it meant this.

529
00:25:24,920 --> 00:25:28,079
Speaker 1: Yeah absolutely, yeah, So no, you should be allowed it's yours.

530
00:25:28,480 --> 00:25:30,319
Speaker 14: You should be allowed to do your own it's up

531
00:25:30,359 --> 00:25:32,799
to you, and saying that, you know, I'm sure I

532
00:25:33,000 --> 00:25:37,279
still know songs that I sort of from various bands

533
00:25:37,319 --> 00:25:39,559
over the years and stuff that you know, songs that

534
00:25:39,599 --> 00:25:42,279
you're quite attached to. And now once you find out

535
00:25:42,279 --> 00:25:45,279
you've been singing the wrong words, you know, sometimes you

536
00:25:45,319 --> 00:25:46,880
can get that's not what I thought it was, and

537
00:25:46,960 --> 00:25:48,519
now it's too late. I'm going to carry on singing

538
00:25:48,559 --> 00:25:50,319
that because that's what I've been doing for hourver long.

539
00:25:50,440 --> 00:25:52,440
Does that with his own song there You Go?

540
00:25:52,720 --> 00:25:55,240
Speaker 1: Yes, very true, There you Go.

541
00:25:55,720 --> 00:25:58,400
Speaker 13: By the way, what does the name mean, naked without It?

542
00:25:58,720 --> 00:25:59,799
Where where does that come from?

543
00:26:01,079 --> 00:26:03,559
Speaker 14: Well, I'll give that the very short version is that

544
00:26:03,960 --> 00:26:06,000
Naked without It is a line.

545
00:26:06,119 --> 00:26:08,720
Speaker 1: From a Jane's Addiction song.

546
00:26:09,359 --> 00:26:14,200
Speaker 14: Okay, from the song Jane says by Jane's Addiction because yeah,

547
00:26:14,279 --> 00:26:17,559
we put it together sort of like thirty odd years ago,

548
00:26:17,720 --> 00:26:19,160
so that was out at the time, and that was

549
00:26:19,559 --> 00:26:21,480
that I really like that song, so we stole like

550
00:26:21,880 --> 00:26:23,599
the line naked without It from there.

551
00:26:24,119 --> 00:26:26,400
Speaker 1: But Martin has a really good version as well.

552
00:26:26,640 --> 00:26:29,119
Speaker 6: So really where it comes from is, as I say,

553
00:26:29,160 --> 00:26:31,799
we were both playing in different bands at that time,

554
00:26:31,920 --> 00:26:34,960
both like Full Electric bands, and so.

555
00:26:34,960 --> 00:26:35,839
Speaker 1: We had this little duo.

556
00:26:36,079 --> 00:26:37,839
Speaker 6: It was just two of us all stripped back, so

557
00:26:38,160 --> 00:26:41,160
it was we were naked without all the other instrumentation,

558
00:26:41,279 --> 00:26:45,000
and so that's really what's it. And with the Jane

559
00:26:45,000 --> 00:26:47,279
and we were pretty exposed. Yeah, so yeah, and it

560
00:26:47,319 --> 00:26:48,920
was you know, it was just ours two voices too,

561
00:26:49,400 --> 00:26:51,680
same as it is now. And so yeah, so it

562
00:26:51,799 --> 00:26:54,119
was quite exposing to do that. So that's the bands

563
00:26:54,160 --> 00:26:55,960
we had we had before were allowed.

564
00:26:56,039 --> 00:26:57,759
Speaker 14: As we said with the drummer that we had very

565
00:26:58,319 --> 00:27:02,440
loud drummer and you know it was yeah, it was

566
00:27:02,440 --> 00:27:05,160
a far more loud on someone. And then when we appeared,

567
00:27:05,319 --> 00:27:07,319
it was just just us two with the acoustics, which

568
00:27:07,440 --> 00:27:08,480
was yeah, it was good.

569
00:27:09,039 --> 00:27:11,319
Speaker 13: No, that makes sense, that makes sense. Uh, this is

570
00:27:11,559 --> 00:27:14,000
a little off subject. But I'm just curious because you

571
00:27:14,200 --> 00:27:17,359
you did bring up Jane's addiction. Did either of you

572
00:27:17,400 --> 00:27:20,200
guys ever get to see Jane's addiction before the implosion?

573
00:27:20,839 --> 00:27:24,200
Speaker 1: Yeah? Said a still the original back in the day. Yeah, yeah,

574
00:27:24,720 --> 00:27:27,440
I can always remember when did you ever get to

575
00:27:27,480 --> 00:27:28,079
tet to see him?

576
00:27:28,599 --> 00:27:31,079
Speaker 13: I never got to see them, and you know, when

577
00:27:31,640 --> 00:27:34,400
all that happened in Boston. You know, Boston is only

578
00:27:34,400 --> 00:27:36,880
about forty five minutes from where we are. Uh so

579
00:27:37,279 --> 00:27:39,240
so so we were, we were close to it. But

580
00:27:40,079 --> 00:27:42,240
but I know I never got to see Jane's Addiction live,

581
00:27:42,279 --> 00:27:44,480
and it doesn't sound like I'll ever get the opportunity.

582
00:27:44,519 --> 00:27:46,799
I don't think that. I don't think they'll be reuniting

583
00:27:46,880 --> 00:27:52,880
again after you know, once a violent Yeah, yeah, now

584
00:27:52,960 --> 00:27:53,240
I saw.

585
00:27:53,400 --> 00:27:55,319
Speaker 14: I remember seeing them when they did. They used to

586
00:27:55,400 --> 00:27:57,759
finish off the set. I remember doing Bricks and Academy.

587
00:27:58,000 --> 00:27:59,960
They used to finish the set with them just playing

588
00:28:00,440 --> 00:28:02,880
like drums across the front of the stage. There was

589
00:28:02,920 --> 00:28:04,440
all four of them just playing. It must be on

590
00:28:04,519 --> 00:28:07,400
YouTube with MS so yeah, see if you can find

591
00:28:07,400 --> 00:28:08,799
out I come in what the song was. But it

592
00:28:09,000 --> 00:28:11,440
was like it was finished just with like them playing

593
00:28:11,519 --> 00:28:13,839
drums across the front. They were amazing, Like I think

594
00:28:13,839 --> 00:28:16,359
that's part of Perry Farrell was just a lunatic.

595
00:28:17,039 --> 00:28:20,079
Speaker 1: Yeah, that was great, as you said it saying about Boston.

596
00:28:20,720 --> 00:28:22,279
I've never been to Boston. I've been New York.

597
00:28:22,359 --> 00:28:24,519
Speaker 14: I've never been to Boston. I've always wanted to go

598
00:28:25,039 --> 00:28:29,279
because I'm a massive drop Kick Murphy's fan. Okay, street Dogs,

599
00:28:31,279 --> 00:28:34,519
everybody over that side down in Boston's amazing. I mean,

600
00:28:34,559 --> 00:28:37,240
I think the the Murphy's at a bar as well,

601
00:28:37,319 --> 00:28:40,279
didn't they with mcgreevy's or something, which I think shut now,

602
00:28:40,319 --> 00:28:43,759
which is a shame, but yeah, pretty sure it's shut

603
00:28:43,799 --> 00:28:45,799
in the pandemic. But yeah, I'd love to go there.

604
00:28:45,920 --> 00:28:47,319
But yeah, big up the Murphy's.

605
00:28:48,039 --> 00:28:51,720
Speaker 13: Yeah, no, great great city and and uh you know, we're,

606
00:28:51,920 --> 00:28:54,119
like I said, we're we're just forty five minutes north.

607
00:28:54,160 --> 00:28:56,559
We're we're the largest city north of Boston and New England.

608
00:28:57,000 --> 00:29:00,960
But yeah, yeah, but yeah, great great music. Is actually

609
00:29:01,039 --> 00:29:02,759
the hat that I'm wearing right now is a b

610
00:29:02,920 --> 00:29:05,960
f raid as a Boston band. But yeah, yeah, we

611
00:29:06,039 --> 00:29:07,640
get a lot of Boston guests on the show. But

612
00:29:07,680 --> 00:29:09,359
I'd like to get Jane's addiction, but I don't think

613
00:29:09,359 --> 00:29:09,839
it's happening.

614
00:29:09,920 --> 00:29:10,039
Speaker 1: Ever.

615
00:29:12,000 --> 00:29:13,519
Speaker 14: You might have to be careful with that'll be very

616
00:29:13,640 --> 00:29:16,160
very very tendity that it's going to take some negotiating

617
00:29:16,200 --> 00:29:16,400
that one.

618
00:29:16,720 --> 00:29:18,160
Speaker 10: There's definitely a skype call that one.

619
00:29:20,839 --> 00:29:21,440
Speaker 1: Separate rooms.

620
00:29:23,799 --> 00:29:25,279
Speaker 13: Now are you guys playing on it? Sounds like you

621
00:29:25,319 --> 00:29:26,960
guys play a lot of shows. Do you play a lot?

622
00:29:28,160 --> 00:29:30,039
Speaker 10: I try to get out and do as much as

623
00:29:30,079 --> 00:29:30,319
we can.

624
00:29:30,440 --> 00:29:33,079
Speaker 6: I mean, you know, it's all I mean, you know,

625
00:29:33,799 --> 00:29:35,200
as I'm sure it is over there. I mean, it's

626
00:29:35,240 --> 00:29:37,839
a difficult time over here for live music.

627
00:29:37,880 --> 00:29:38,200
Speaker 1: A lot of.

628
00:29:38,200 --> 00:29:42,279
Speaker 6: Grassroots venues are disappearing and pandemic and that kind of thing.

629
00:29:42,400 --> 00:29:45,880
So yeah, it is tough, but we try and you know,

630
00:29:46,119 --> 00:29:47,799
just get out where we can and when we can,

631
00:29:47,920 --> 00:29:49,720
and you know, just get out and see people. And

632
00:29:49,759 --> 00:29:52,640
people are always, you know, still enjoy going to see

633
00:29:52,680 --> 00:29:55,839
live music, and I think the less options they have

634
00:29:56,440 --> 00:29:59,319
of places to go, the more they kind of.

635
00:29:59,319 --> 00:30:01,160
Speaker 10: Make the effort appreciate it when they're there.

636
00:30:01,839 --> 00:30:02,839
Speaker 1: It's going on.

637
00:30:03,079 --> 00:30:05,640
Speaker 14: So it does tend to it tends to get a

638
00:30:05,640 --> 00:30:09,799
little bit quiet in England now because it's once you'rehit

639
00:30:09,880 --> 00:30:12,599
December and it's sort of like Christmas season. Everybody just

640
00:30:12,720 --> 00:30:15,279
wants covers bands and party bands and things like that.

641
00:30:15,720 --> 00:30:18,039
So we tend to have like a quieter December and

642
00:30:18,160 --> 00:30:20,960
then go back out in January. It's just sort of

643
00:30:22,079 --> 00:30:26,599
nobody wants. Nobody wants sort of original acoustic stuff at

644
00:30:26,640 --> 00:30:26,920
the moment.

645
00:30:27,000 --> 00:30:27,480
Speaker 1: But that's all right.

646
00:30:27,599 --> 00:30:30,319
Speaker 14: We just use the time to record and promote and

647
00:30:30,400 --> 00:30:32,519
work on everything else, so don't stop us.

648
00:30:32,720 --> 00:30:36,519
Speaker 13: Yeah, absolutely, and you did mention earlier too, So you're

649
00:30:36,519 --> 00:30:39,640
already you've already started working on the next the next songs.

650
00:30:40,079 --> 00:30:42,480
Are you going to do the same approach with these,

651
00:30:42,519 --> 00:30:45,039
where you release them as singles that eventually become an album.

652
00:30:45,759 --> 00:30:49,079
Speaker 1: No, we we've we've we're chucking around ideas at the moment.

653
00:30:49,119 --> 00:30:52,920
Speaker 14: We're talking about doing again same thing, just setting ourselves

654
00:30:53,000 --> 00:30:53,680
up for a problem.

655
00:30:54,039 --> 00:30:55,079
Speaker 1: We're talking about four.

656
00:30:55,000 --> 00:30:57,880
Speaker 14: EPs next year, so we're probably going to do for

657
00:30:58,319 --> 00:31:02,920
three track EPs, uh once again once every three months. Yeah,

658
00:31:03,000 --> 00:31:06,680
I don't want to set these ridiculousous thankes you.

659
00:31:06,680 --> 00:31:07,440
Speaker 1: Work, Yeah it does.

660
00:31:07,519 --> 00:31:09,160
Speaker 14: Yeah, but we're going to say yeah, So that's what

661
00:31:09,240 --> 00:31:11,440
we're looking at the moment, and we have been toying.

662
00:31:11,519 --> 00:31:16,200
We've calling it the twenty five eight okay, because twenty

663
00:31:16,200 --> 00:31:19,640
four to seven would be too easy, so eight sounds.

664
00:31:19,400 --> 00:31:23,759
Speaker 13: Better, gotcha, gotcha? No, I like the I like the

665
00:31:23,880 --> 00:31:26,240
idea though of you know, with the EPs, it's kind

666
00:31:26,240 --> 00:31:28,720
of a compromise right between the full album approach and

667
00:31:28,799 --> 00:31:31,559
then the singles versus the singles that become a full album.

668
00:31:31,920 --> 00:31:33,920
You know, that's kind of like a happy medium.

669
00:31:34,319 --> 00:31:37,759
Speaker 1: What you're like, twelve songs we can stick on an album.

670
00:31:37,640 --> 00:31:40,519
Speaker 13: Exactly exactly. Yeah, no, I think that's great.

671
00:31:41,839 --> 00:31:42,680
Speaker 18: What should before?

672
00:31:42,720 --> 00:31:44,200
Speaker 13: I let you guys go? And I appreciate it. You've

673
00:31:44,200 --> 00:31:46,079
been generous with your time. We've kept you on for

674
00:31:46,079 --> 00:31:47,599
a while and it's great to talk to you guys.

675
00:31:47,640 --> 00:31:50,559
I love the songs, very very catchy, fun to sing

676
00:31:50,599 --> 00:31:54,400
along to. What should people know? What should our listeners

677
00:31:54,480 --> 00:31:56,680
know about how to find you online? To keep up

678
00:31:56,720 --> 00:31:59,920
with everything that you're doing? Obviously hard for our America

679
00:32:00,079 --> 00:32:02,880
listeners to get to a show, but you know, but

680
00:32:03,039 --> 00:32:05,119
as you're releasing new music, and who knows, maybe you'll

681
00:32:05,160 --> 00:32:07,119
maybe you'll come to the US at some point and

682
00:32:07,200 --> 00:32:09,920
you'll get to see Boston. But what should our listeners

683
00:32:10,000 --> 00:32:12,799
know about how to keep up with you guys online?

684
00:32:13,960 --> 00:32:14,920
Speaker 1: So we start with that.

685
00:32:15,200 --> 00:32:17,920
Speaker 14: You know, you set us up, we'll come. We'll set

686
00:32:18,000 --> 00:32:19,759
us up, some gigs will come nowhere. It might cost

687
00:32:19,799 --> 00:32:20,920
you a fly us out, but we'll.

688
00:32:20,839 --> 00:32:21,640
Speaker 13: Come right right.

689
00:32:22,039 --> 00:32:22,920
Speaker 1: We're really, We're really.

690
00:32:23,079 --> 00:32:25,720
Speaker 14: You know, if ninety five point three you want to play,

691
00:32:25,759 --> 00:32:28,880
and then that's fine, we'll do that. I'll run it

692
00:32:28,960 --> 00:32:33,480
by the bus, keep playing in spinning, keep get get

693
00:32:33,519 --> 00:32:35,519
him a little, give him too many drinks over Christmas?

694
00:32:36,200 --> 00:32:39,680
Too many and funnily enough, one too Many is a

695
00:32:39,759 --> 00:32:42,119
song by this brilliant band from England.

696
00:32:42,599 --> 00:32:43,160
Speaker 13: That's true.

697
00:32:43,920 --> 00:32:46,519
Speaker 14: Other than that, we are on all the socials, so

698
00:32:46,839 --> 00:32:50,039
we are generally you can find us by searching at

699
00:32:50,359 --> 00:32:51,920
NWY band.

700
00:32:52,680 --> 00:32:55,559
Speaker 10: Result than just said starting any search with naked.

701
00:32:55,480 --> 00:32:58,079
Speaker 14: If you get if you search naked, Naked without It

702
00:32:58,359 --> 00:33:02,319
and singles club. Sometimes the search results aren't actually what

703
00:33:02,400 --> 00:33:03,000
you want to look.

704
00:33:02,920 --> 00:33:06,720
Speaker 1: At, right, But that's just one of them things. We

705
00:33:07,000 --> 00:33:08,599
didn't plan that one very well, you see.

706
00:33:08,960 --> 00:33:14,839
Speaker 14: But yeah, so Instagram is obviously Instagram, Instagram, dot Com,

707
00:33:15,480 --> 00:33:21,599
Forward Slash, NWI band that same thing for x X's

708
00:33:21,680 --> 00:33:23,880
NWI band on Facebook, so find us.

709
00:33:23,839 --> 00:33:26,400
Speaker 6: On there and on all streaming sites as well. The

710
00:33:26,559 --> 00:33:31,160
singles club is available, habits, Bright is available, everything is there.

711
00:33:31,079 --> 00:33:32,559
Speaker 1: So yeah, and band camp as well.

712
00:33:32,880 --> 00:33:34,799
Speaker 14: If I mean, if people want to want to actually

713
00:33:34,960 --> 00:33:38,079
get a hard copy of the CD or both or

714
00:33:38,119 --> 00:33:41,000
either CD, we can send them out. You can find

715
00:33:41,039 --> 00:33:42,359
them on band camp if you want to do it

716
00:33:42,440 --> 00:33:44,799
through that, or just contact us through the socials and

717
00:33:44,920 --> 00:33:45,240
we can.

718
00:33:46,079 --> 00:33:47,319
Speaker 1: We'll organize to send one.

719
00:33:47,279 --> 00:33:49,319
Speaker 10: Out product worldwide.

720
00:33:49,359 --> 00:33:51,440
Speaker 1: Physical products definitely.

721
00:33:51,119 --> 00:33:54,319
Speaker 13: Yes, outstanding, outstanding. In a moment, I'm going to play

722
00:33:54,359 --> 00:33:58,559
this this track, Mollie, and then a little bit later

723
00:33:58,640 --> 00:34:00,240
after we let you guys go, we're also going to

724
00:34:00,279 --> 00:34:02,839
play one too Many to close out the hour, but

725
00:34:03,200 --> 00:34:05,200
but we'll let uh, we'll let you guys. Are you

726
00:34:05,240 --> 00:34:06,960
guys playing it all this weekend? Do you have anything

727
00:34:07,000 --> 00:34:07,440
this weekend?

728
00:34:08,039 --> 00:34:08,880
Speaker 1: We played last night.

729
00:34:09,199 --> 00:34:13,280
Speaker 14: Yeah, we played last night at at a place in

730
00:34:14,159 --> 00:34:16,719
in sorry called Camberly. We played at the Login Lounge,

731
00:34:16,760 --> 00:34:18,599
which was really good. Went down really well. As I say,

732
00:34:18,639 --> 00:34:20,679
they were they were spinning and they were dancing, so

733
00:34:21,400 --> 00:34:22,199
that went really well.

734
00:34:22,480 --> 00:34:25,079
Speaker 1: So when you play one too Many later, you need

735
00:34:25,159 --> 00:34:26,760
to work out where your bit is.

736
00:34:27,559 --> 00:34:27,880
Speaker 10: We did.

737
00:34:28,079 --> 00:34:30,239
Speaker 14: We did a radio interview the other week and the

738
00:34:30,920 --> 00:34:35,039
DJ was fading his own vocals up and down for

739
00:34:35,159 --> 00:34:38,440
the for the response. So when you play that, when

740
00:34:38,480 --> 00:34:40,480
I sing one too many, you better be singing one

741
00:34:40,559 --> 00:34:41,199
too many back.

742
00:34:41,400 --> 00:34:42,960
Speaker 1: We'll check that later.

743
00:34:43,320 --> 00:34:48,280
Speaker 13: Yes, yes, interactive, Yes.

744
00:34:48,440 --> 00:34:54,760
Speaker 14: Absolutely, And and give Molly a spin Molly was, uh, yes,

745
00:34:55,079 --> 00:34:57,639
Molly was the first is the first track on the album. Yes,

746
00:34:58,480 --> 00:35:02,360
so she's it's a little bit quiet, but yeah, Molly

747
00:35:02,719 --> 00:35:04,159
always goes down world live as well.

748
00:35:05,119 --> 00:35:07,599
Speaker 13: Very good, very good. All right, we're gonna we're gonna

749
00:35:07,599 --> 00:35:09,679
play that in a moment, so we'll let you, guys go.

750
00:35:09,840 --> 00:35:12,039
Thank you so much for joining us Naked without It.

751
00:35:12,119 --> 00:35:14,559
It is wonderful to talk to you two gentlemen. And uh,

752
00:35:14,679 --> 00:35:16,400
we'll do this. We'll do this again in the future.

753
00:35:16,440 --> 00:35:18,559
It sounds like you know you're already working on new music,

754
00:35:18,679 --> 00:35:21,719
so well, we will definitely definitely be having you back.

755
00:35:22,360 --> 00:35:25,440
Speaker 1: Absolutely we'll be with you. That's fantastic. Thanks for having us.

756
00:35:25,480 --> 00:35:27,519
Speaker 13: All right, guys, thank you. We'll talk to you soon.

757
00:35:27,599 --> 00:35:31,719
Take care, Thank you, you got it. Bye bye. All right.

758
00:35:31,800 --> 00:35:34,800
That is Naked Without It, And uh, let's play this track.

759
00:35:35,119 --> 00:35:37,639
This is This is another catchy one. This is called

760
00:35:37,880 --> 00:35:38,840
Molly No.

761
00:35:40,719 --> 00:35:52,119
Speaker 11: Molly, Oh, Molly you no no, Molly no, Molly no,

762
00:35:54,079 --> 00:35:57,280
Molly no, Molly no.

763
00:36:21,400 --> 00:36:22,239
Speaker 1: Molly's gonna be.

764
00:36:22,559 --> 00:36:25,000
Speaker 4: A movie stars since five years old.

765
00:36:25,199 --> 00:36:27,719
Speaker 19: She's gonna go far, gonna get herself a.

766
00:36:27,960 --> 00:36:32,440
Speaker 7: Fumer scream, knows exactly where she wants to fig nothing's

767
00:36:32,480 --> 00:36:35,599
gonna get and Molly's way all playing out.

768
00:36:35,719 --> 00:36:39,599
Speaker 4: She could see the tick on the Hollywood Walker fame

769
00:36:40,159 --> 00:36:42,280
caving out Molly's name.

770
00:36:42,760 --> 00:36:49,280
Speaker 11: No no, no, Molly, no no no, Molly no no no,

771
00:36:50,119 --> 00:36:58,440
Molly no no no no oh Molly, no, no, no, oh, Molly,

772
00:36:58,760 --> 00:36:59,239
no no.

773
00:37:00,760 --> 00:37:01,119
Speaker 17: Milly.

774
00:37:01,320 --> 00:37:06,119
Speaker 1: Now, Stevee's gonna be a football star.

775
00:37:06,719 --> 00:37:07,639
Speaker 2: Daddy told him.

776
00:37:07,840 --> 00:37:10,719
Speaker 1: He's gonna go Far's gonna get shigned by.

777
00:37:10,679 --> 00:37:11,559
Speaker 5: The greatest team.

778
00:37:11,880 --> 00:37:13,039
Speaker 1: He's gonna feel failed.

779
00:37:13,440 --> 00:37:14,440
Speaker 8: Daddy's drenched.

780
00:37:14,639 --> 00:37:16,800
Speaker 1: Stevie's gotta work to make it pay.

781
00:37:16,960 --> 00:37:21,599
Speaker 4: But Steve's gonna make it anyway, finds the cocaine far

782
00:37:21,760 --> 00:37:22,320
more fun.

783
00:37:22,760 --> 00:37:24,920
Speaker 1: Always gonna be the chosen worm.

784
00:37:25,079 --> 00:37:30,679
Speaker 11: But nope, no, no money, no no no, Molley, you

785
00:37:30,800 --> 00:37:38,400
do no no Milly, no no no no, oh Molly,

786
00:37:38,599 --> 00:37:42,639
you no no no o, Molly, you do no no

787
00:37:43,440 --> 00:37:44,320
Milly New.

788
00:38:09,480 --> 00:38:10,440
Speaker 7: Life is life.

789
00:38:10,679 --> 00:38:12,760
Speaker 1: Molly's gonna be Stevie's why.

790
00:38:12,880 --> 00:38:17,159
Speaker 19: I's gonna build in a little challenge je point and

791
00:38:17,280 --> 00:38:19,599
a pretty gown baby on the way.

792
00:38:19,639 --> 00:38:23,400
Speaker 1: You gotta lay with the round and Money's man.

793
00:38:24,039 --> 00:38:27,719
Speaker 4: Moley sees life from the TV screen, Steedee and the pipe.

794
00:38:27,760 --> 00:38:28,679
Speaker 1: What good it be?

795
00:38:32,119 --> 00:38:40,280
Speaker 11: No no, no, no, Molly, no no money, no Golly doom,

796
00:38:42,800 --> 00:38:48,079
no no no Molly, you know no, no Molly.

797
00:38:48,119 --> 00:38:55,400
Speaker 1: No no Golly. Molly's gonna be a movie star.

798
00:38:55,639 --> 00:38:58,079
Speaker 4: Yet, Milly's gonna be a movie star.

799
00:38:58,280 --> 00:39:01,360
Speaker 13: Yeah, Miley's gonna be mothery.

800
00:39:04,039 --> 00:39:07,519
Speaker 1: Miley's gonna be the movie star. Yeah, Miley's gonna be

801
00:39:07,920 --> 00:39:08,719
a movie star.

802
00:39:08,960 --> 00:39:16,639
Speaker 11: Yeah, Miley's gonna be No Molly no no no, oh

803
00:39:16,800 --> 00:39:21,320
Molly you no no no, oh Molly no no no

804
00:39:22,079 --> 00:39:29,280
Millay no no no no, oh Molly no no no

805
00:39:29,800 --> 00:39:33,320
oh Molly no no no Milly no.

806
00:40:00,760 --> 00:40:06,719
Speaker 13: And seemed like a good ideal at the time.

807
00:40:07,360 --> 00:40:12,079
Speaker 19: Wyma with one all one, I got a bottn man

808
00:40:12,239 --> 00:40:14,199
the boys, I'm ready too old.

809
00:40:17,000 --> 00:40:18,800
Speaker 17: You started out of early.

810
00:40:18,559 --> 00:40:19,840
Speaker 1: With the party group.

811
00:40:20,639 --> 00:40:21,320
Speaker 13: Nothing done.

812
00:40:21,480 --> 00:40:23,400
Speaker 1: You should just rig it up, grouse.

813
00:40:23,920 --> 00:40:27,760
Speaker 19: Dad was gonna take us flopping stroom.

814
00:40:29,159 --> 00:40:31,599
Speaker 1: Because we have it and I want too many.

815
00:40:33,679 --> 00:40:35,360
Speaker 11: I want to lady.

816
00:40:37,159 --> 00:40:40,880
Speaker 19: One too, Maney and the pushing me home.

817
00:40:43,840 --> 00:40:45,320
Speaker 20: One too may Dad.

818
00:40:46,920 --> 00:40:48,599
Speaker 8: A wan too, lady.

819
00:40:50,400 --> 00:40:54,039
Speaker 1: One too minute and to push me home.

820
00:40:56,199 --> 00:40:59,239
Speaker 4: Where we hit the food post sat Lab and they

821
00:40:59,440 --> 00:41:02,880
have coffee has and we did it again.

822
00:41:03,480 --> 00:41:07,599
Speaker 11: The Jukie caught us ladies attend.

823
00:41:10,239 --> 00:41:16,079
Speaker 4: Signing thirteen hands on her way. Admiral Duncan flying this tree,

824
00:41:16,760 --> 00:41:18,079
the French Arxander.

825
00:41:19,000 --> 00:41:20,840
Speaker 1: He was always my friend.

826
00:41:22,239 --> 00:41:24,719
Speaker 19: When we have it, And I want too may that,

827
00:41:26,679 --> 00:41:33,360
I want too lady walk too, mid Hey and the pushy.

828
00:41:33,119 --> 00:41:33,960
Speaker 14: Mall home.

829
00:41:36,800 --> 00:41:38,239
Speaker 1: Wan too maya.

830
00:41:39,880 --> 00:41:40,760
Speaker 14: A way too.

831
00:41:40,920 --> 00:42:15,920
Speaker 19: Lady one too maney and the pushy mall home well

832
00:42:16,320 --> 00:42:17,639
to find a cost time.

833
00:42:17,760 --> 00:42:20,000
Speaker 8: I had a one at and we lost a few

834
00:42:20,280 --> 00:42:23,440
on the way, but we lad a few friends looking

835
00:42:23,559 --> 00:42:26,480
at the stars from the gutting again.

836
00:42:29,519 --> 00:42:30,880
Speaker 4: We gotta stop drinking.

837
00:42:30,960 --> 00:42:33,400
Speaker 1: We even come to end time with.

838
00:42:33,480 --> 00:42:35,599
Speaker 8: This that I've got no money to spend.

839
00:42:35,840 --> 00:42:38,760
Speaker 4: Now whom I kid ed see you.

840
00:42:38,880 --> 00:42:40,480
Speaker 8: Next week cares.

841
00:42:41,719 --> 00:42:45,840
Speaker 19: When we're having a want too minute walk too minute,

842
00:42:46,320 --> 00:42:51,719
wa too lady, want to lady wat too minutead and

843
00:42:52,079 --> 00:42:53,280
pushing me home.

844
00:42:56,239 --> 00:42:57,840
Speaker 1: Wa too minute.

845
00:42:57,920 --> 00:43:06,239
Speaker 19: Wat too minute wat watch Watchie and the person own.

846
00:43:09,199 --> 00:43:12,079
Speaker 13: On November twenty second, join us at the Sister Witch

847
00:43:12,159 --> 00:43:14,639
Company for a pre Black Friday event and the lighting

848
00:43:14,679 --> 00:43:16,760
of our Yule tree at eleven ninety three Hooks at

849
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Road and Hooks It from five point thirty to nine

850
00:43:18,800 --> 00:43:22,320
thirty pm. Enjoy local vendors, light refreshments and holiday shopping.

851
00:43:22,440 --> 00:43:24,320
Plus be there by seven for the tree lighting and

852
00:43:24,480 --> 00:43:27,199
receive an exclusive ticket to our next event. Then, on

853
00:43:27,320 --> 00:43:30,320
the thirtieth, don't miss our magical market, psychic and small

854
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business event at the Manchester Masonic Temple. Discover local artisans,

855
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psychic readings and unique gifts. For everyone on your list.

856
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Learn more at Sisterwitch Company dot com.

857
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Speaker 17: In times of crisis, you need a law firm that

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stands by your side. With over forty years of experience,

859
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860
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As former state prosecutors, our attorneys have the knowledge and

861
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863
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team will assess your case and fight for the compensation

864
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865
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867
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868
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869
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Speaker 16: Bring your kitchen to life with Queen Citycabinetry, located at

870
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871
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872
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in Saturdays ten am to two pm.

873
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Speaker 21: They can be reached at six oh three two two

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875
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876
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Speaker 18: Come see the possibilities.

877
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Speaker 21: Queen Citycabinatree, another crowd sponsor of WMNH.

878
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879
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880
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881
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882
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883
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884
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885
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886
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Speaker 15: When it comes to keeping WMNH on the air and

887
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your own personal or business computer needs, trust growl Ind Computers,

888
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889
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890
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892
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894
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895
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Speaker 18: Midnight.

896
00:46:01,159 --> 00:46:05,920
Speaker 2: Seven times out of ten we listened to our music night.

897
00:46:07,920 --> 00:46:11,119
That's one titled book business program.

898
00:46:10,920 --> 00:46:14,960
Speaker 9: Late Night to Light with DJ Midas right here on WMNH, Manchester.

899
00:46:15,199 --> 00:46:16,760
Speaker 13: Do you because.

900
00:46:18,480 --> 00:46:20,840
Speaker 1: Saturdays and Sunday nights midnight to four am.

901
00:46:22,199 --> 00:46:27,639
Speaker 22: This hour on WMNH is sponsored by CGI Business Solutions,

902
00:46:28,000 --> 00:46:32,000
located at five Dartmouth Drive in Auburn. They serve all

903
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your business needs including employee benefits, planning, corporate design and

904
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business administration, investments and wealth management and customized business insurance solutions.

905
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Their phone number is eight sixty six eighty four to

906
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one forty six hundred, or on the web at CGI

907
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business Solutions dot com.

908
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Speaker 12: Behold the harmony of airwaves as you immerse yourself in

909
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the captivating frequencies of w MNHLP, the sonic heartbeats of

910
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Manchester transcending through the ether at ninety five point three

911
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megahertz frequency modulation. Our transmissions EM and E from the

912
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Zeene at the one thousand Elm Street ensure into the

913
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hearts of our creative realm at one nineteen Canal Street,

914
00:47:15,559 --> 00:47:19,400
where innovation in sound collide. There the impro model of

915
00:47:19,519 --> 00:47:23,039
Manchester Public Television Service in the venerable City of Manchester,

916
00:47:23,159 --> 00:47:26,920
New Hampshire, USA. Enrich your auditory journey with the depth

917
00:47:27,000 --> 00:47:29,679
of our license to wesn'd a spent your missives to

918
00:47:29,960 --> 00:47:32,639
w m n H ninety five three at gmail dot com,

919
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or traverse the virtual corridors of w mnhradio dot org.

920
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Engage with our sonic vibrations by commuting with us through

921
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the digital channels or radio beconds eager to enthrall you

922
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with its mesmerizing kidence and develop you as symphony of

923
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foundless auditories.

924
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Speaker 1: One dude, w MNH rip the novels.

925
00:47:56,639 --> 00:47:59,639
Speaker 2: This is eleanor Langthorn from Vices Inc. And you're listening

926
00:47:59,719 --> 00:48:03,360
to Matt Connerton Unleashed on ninety five point three w

927
00:48:03,840 --> 00:48:04,599
m n H.

928
00:48:22,320 --> 00:48:32,639
Speaker 20: Dog swifs to come, swell to well come the dreams

929
00:48:32,760 --> 00:48:35,440
and swear I want to.

930
00:48:39,039 --> 00:48:44,400
Speaker 23: See dress.

931
00:48:47,840 --> 00:48:49,559
Speaker 20: So small.

932
00:49:01,559 --> 00:49:12,280
Speaker 23: On the road on the road us what she want?

933
00:49:32,880 --> 00:49:38,639
Speaker 20: Oh s god, loom That's why I want to run

934
00:49:38,840 --> 00:49:43,360
and rap dist pace seel thing.

935
00:49:44,119 --> 00:49:46,639
Speaker 5: Swear I want to run.

936
00:49:49,280 --> 00:49:55,480
Speaker 20: Small over guess it aver.

937
00:49:57,159 --> 00:50:19,840
Speaker 23: The so sma on the road on the road there

938
00:50:20,360 --> 00:50:44,000
knows what you want. Streak. Guys stand on the road

939
00:50:44,960 --> 00:50:58,679
on the road there they goes where you want on

940
00:50:59,079 --> 00:51:00,679
the road on.

941
00:51:06,079 --> 00:51:08,920
Speaker 20: She's gone God she kills her.

942
00:51:47,880 --> 00:51:50,760
Speaker 13: HM. I love that. That is Bright Sky's overcast. That

943
00:51:50,920 --> 00:51:52,679
is Vices Inc. Who we have here with us in

944
00:51:52,760 --> 00:51:54,480
studio and we're going to introduce them in just a

945
00:51:54,559 --> 00:51:56,480
moment and they're going to play live for us. But

946
00:51:56,639 --> 00:51:59,519
this is Matt Connorton Unleashed and we are live from

947
00:51:59,559 --> 00:52:04,480
the studio of WMNH ninety five point three FM, Inglorious, Manchester,

948
00:52:04,599 --> 00:52:06,159
New Hampshire, and of course you can stream the show

949
00:52:06,159 --> 00:52:09,320
at Matt connorton dot com slash Live. Jenny is here

950
00:52:09,320 --> 00:52:12,840
as well at the news tablet of for and by

951
00:52:12,880 --> 00:52:14,400
the way, before we go any further, we just want

952
00:52:14,440 --> 00:52:16,360
to remind you again in case you are just joining us.

953
00:52:16,400 --> 00:52:20,320
Today is Small Business Saturday, which means today is the

954
00:52:20,519 --> 00:52:24,840
Magical market small Business Psychic Fair. Our amazing friends at

955
00:52:24,920 --> 00:52:28,719
the Sister Witch Company doing this event. Come join us

956
00:52:28,840 --> 00:52:31,360
on Small Business Saturday from eleven thirty am to six

957
00:52:31,440 --> 00:52:33,639
pm where you will find some of the most amazing

958
00:52:33,760 --> 00:52:37,719
vendors and their handmade items and art. This will be

959
00:52:38,239 --> 00:52:41,119
a packed event, one floor only, with a separate room

960
00:52:41,159 --> 00:52:44,760
dedicated to our healers and readers. This is the time

961
00:52:44,800 --> 00:52:47,320
of year where small businesses need you more than any

962
00:52:47,400 --> 00:52:49,880
big box store. Come out meet us and watch us

963
00:52:49,920 --> 00:52:51,719
light up when we make a sale. This is being

964
00:52:51,760 --> 00:52:53,840
held at the Manchester Masonic Temple at fifteen to oh

965
00:52:53,880 --> 00:52:56,400
five Elm Street right here in Manchester. And that goes

966
00:52:56,440 --> 00:52:59,199
from eleven thirty am. So it's already Oh no, it

967
00:52:59,239 --> 00:53:02,280
hasn't already started, but it will be shortly to six

968
00:53:02,400 --> 00:53:05,239
pm at the Manchester Massonic Temple at fifteen oh five

969
00:53:05,280 --> 00:53:07,400
Elm Street right here in Manchester. And you know, as

970
00:53:07,400 --> 00:53:10,280
I always like to say, Walmart doesn't need all Walmart

971
00:53:10,280 --> 00:53:12,920
doesn't need any more of your money actually, but small

972
00:53:12,960 --> 00:53:15,280
businesses due, so please support them all year round. But

973
00:53:16,079 --> 00:53:18,519
it is Small Business Saturday, and please support our amazing

974
00:53:18,679 --> 00:53:22,480
friends at the Sister Witch Company. And so we have

975
00:53:22,639 --> 00:53:24,840
Vices Inc here with us a live in studio. I'm

976
00:53:24,880 --> 00:53:27,000
gonna bring these mics up because they are going to

977
00:53:27,079 --> 00:53:29,800
play for us. We had them on the show last

978
00:53:29,840 --> 00:53:32,000
time for an interview, but they're going to play live

979
00:53:32,559 --> 00:53:35,400
and then we're going to talk and they're going to

980
00:53:35,480 --> 00:53:39,480
do a few songs for us. So whenever, actually do

981
00:53:39,519 --> 00:53:42,119
you want to just let's do it quick. We have

982
00:53:42,199 --> 00:53:43,679
to do it live on the air because the show

983
00:53:44,079 --> 00:53:46,119
is already live, but we'll kind of do a little

984
00:53:46,119 --> 00:53:48,719
bit of a sound check eleanor can you sing a

985
00:53:48,760 --> 00:53:49,119
little bit?

986
00:53:49,639 --> 00:53:50,719
Speaker 5: Oh, just by myself.

987
00:53:51,000 --> 00:53:52,679
Speaker 13: I just want to make sure that MIC's working. Yeah.

988
00:53:52,960 --> 00:53:56,639
Speaker 5: Every day I seem to be looking for.

989
00:53:56,960 --> 00:54:00,719
Speaker 13: Me, gotcha? Okay, And let's here a little of those

990
00:54:00,800 --> 00:54:03,760
bongos there or is that what you call those? Okay?

991
00:54:05,880 --> 00:54:08,800
Oh yeah, sounds great, And a little bit of that guitar.

992
00:54:12,719 --> 00:54:17,199
I'm gonna actually, i'm gonna take this mic down and

993
00:54:17,280 --> 00:54:19,519
I'm gonna bring this other mic. Uh, go and play

994
00:54:19,519 --> 00:54:26,159
a little more for me. Yeah, that's pretty good, all right.

995
00:54:26,360 --> 00:54:31,400
And let's hear a little of the bass. Oh yeah, yeah,

996
00:54:31,480 --> 00:54:35,320
that's coming through nice and lab okay great, Uh, whenever

997
00:54:35,400 --> 00:54:38,239
you want to start. Everybody listening, if you are just

998
00:54:38,360 --> 00:54:41,639
joining us, we have Vices Inc. Live in studio, and uh,

999
00:54:42,079 --> 00:54:43,440
Jenny and I are just gonna let you all go

1000
00:54:43,559 --> 00:54:44,800
for it and we'll enjoy this.

1001
00:55:00,000 --> 00:55:06,039
Speaker 5: Every day I seem to be looking for me, never

1002
00:55:06,199 --> 00:55:08,199
been able to find.

1003
00:55:08,079 --> 00:55:13,920
Speaker 2: Those things that I need. Sometimes I must be strong

1004
00:55:14,639 --> 00:55:19,880
just to carry on. I will get inside my head

1005
00:55:20,119 --> 00:55:22,159
so I won't be one and gone.

1006
00:55:23,559 --> 00:55:29,639
Speaker 5: Oh don't we all know how we goes.

1007
00:55:32,280 --> 00:55:39,280
Speaker 2: It's everything we know. Stop right there. It's never how

1008
00:55:39,400 --> 00:55:43,199
it appears. You can't wish to get all you.

1009
00:55:43,519 --> 00:55:47,199
Speaker 5: Want, but you shouldn't know that it may all comment on,

1010
00:55:47,559 --> 00:55:52,079
john't be scared. The bravest can fail.

1011
00:55:53,159 --> 00:55:57,880
Speaker 2: It's those ones who come back strong, never a weak momentary.

1012
00:55:58,639 --> 00:56:07,840
Speaker 5: Let up on. Now we have it all so clear,

1013
00:56:08,159 --> 00:56:13,800
you seem much more aware. You should let yourself.

1014
00:56:13,360 --> 00:56:19,159
Speaker 2: Enjoy those things you hold dear. Maybe life is easy

1015
00:56:19,400 --> 00:56:24,440
if you think you don't care what a choice is,

1016
00:56:24,639 --> 00:56:32,280
like that baby that will get you nowhere. Oh, don't

1017
00:56:32,400 --> 00:56:39,280
be all No, how it goes, it's everything we know.

1018
00:56:40,760 --> 00:56:45,400
Speaker 5: Stop right there. It's never how it appears.

1019
00:56:46,760 --> 00:56:49,800
Speaker 2: You can't wish to get all you want, but you

1020
00:56:49,960 --> 00:56:51,480
shouldn't know that it may.

1021
00:56:51,480 --> 00:56:57,400
Speaker 5: All come un John, be scared. The bravest can fail.

1022
00:56:58,480 --> 00:57:03,159
Speaker 2: It's those ones who come acts wrong, never weak momentum.

1023
00:57:04,039 --> 00:57:05,039
Speaker 5: It's time.

1024
00:57:06,840 --> 00:57:13,239
Speaker 2: Life can be kind of funny when you're searching for somebody,

1025
00:57:14,079 --> 00:57:24,480
someone from the recredile dream. Maybe you should be happy

1026
00:57:25,119 --> 00:57:30,840
with those things you have already and stop chasing those

1027
00:57:31,039 --> 00:57:40,199
unreal fantasy. Life can be kind of funny when you're

1028
00:57:40,480 --> 00:57:51,199
searching for somebody, someone from a regredile dream maybe you

1029
00:57:52,000 --> 00:57:57,440
should be happy with those things you have already and

1030
00:57:57,719 --> 00:58:00,800
stop chasing those unreal elf Betsy.

1031
00:58:04,559 --> 00:58:15,039
Speaker 5: Oh, it's time to let it go. Oh it's something

1032
00:58:15,320 --> 00:58:25,880
you should know top right there. It's never how it appears.

1033
00:58:27,239 --> 00:58:30,360
You can wish to get all you want, but you

1034
00:58:30,559 --> 00:58:34,760
shouldn't know that. May I'll come an John Peace.

1035
00:58:34,559 --> 00:58:40,320
Speaker 2: Here the bravest can fill. It's those ones who come

1036
00:58:40,519 --> 00:58:43,599
back strong. Never a week momenteum