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Speaker 1: Quincy Lord is here with us live in studio. Good morning, Hello, Hello,

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how are you good? Welcome back.

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Speaker 2: I saw you using a cheat sheet on the calendar

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just then.

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Speaker 1: Yeah, well when I look over there, yeah yeah, yeah, yeah,

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it's uh until until it becomes afternoon. I don't recall

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what day of the month it is, but you know,

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by the afternoon I've woken up.

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Speaker 2: Same. We'll get there together.

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Speaker 1: Yeah, yeah, so welcome. When was the last time we

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had you? We haven't had you since you've been since

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we've been here.

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Speaker 2: Yeah, so uh, I think uh, we had put out

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with my band's Sunset Electric. We had put out an

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album last November, and it was just a little bit

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before that came out because we had a couple of

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singles for you to play.

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Speaker 1: So yeah, it.

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Speaker 2: Must have been early last November, maybe October. So over a

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year yeah, yeah, long enough.

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Speaker 1: And the band is still going right.

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Speaker 2: The band's still going. We have a couple of shows

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coming up. I'm sure I'll glad about that as the

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day goes on. But we're having a good time. But

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I I've had all these songs collecting for a while

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on a side put out this solo record that I'm

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here to talk about. Obviously that was the title track,

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if we didn't say that A bright future.

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Speaker 1: Yeah, I listened to the whole album. You sent us

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the whole thing, and I love it. I love the

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whole thing. Is just great. I appreciate that you said,

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So this is a collection of songs that you've been

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accumulating for a while now.

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Speaker 2: Yeah, this is I've been telling myself I was doing

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a solo acoustic record for a while, because yeah, I've

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written a lot, and there's a lot of songs that

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don't fit what the band does. So okay, But there's

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fifteen songs on this, which is obviously too many. About

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five too many, But basically there's a it's broken into

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three groups of five here, and there's a The last

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five songs, which are I just see as extra, are

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acoustic versions of songs we've already put out the band

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did on the last record or one. It's a single

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we've done since once, a song I did with my

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old band, and like twenty nineteen, but oh okay. And

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then there's five songs that are very old, some I

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wrote when I was a teenager, which is a lifetime ago.

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And so there's five very old songs, five new songs,

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and five songs that are re released acoustic versions. So

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I was like, let's just stick them all together and

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put them out there.

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Speaker 1: So Okay, it's not.

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Speaker 2: The most cohesive unit, but I think it's a I

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enjoy it. I like to have that they came to

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life and I can be like, Okay, I don't have

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you have this one, you know on the back of

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my mind, like I want to do something with that

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song someday, right right.

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Speaker 1: In terms of recording these, who else is on these

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tracks with you? Or is it all you did? You

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do this all yourself?

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Speaker 2: I did all the recording, but I had a bunch

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of friends join me on this. The Sunset electric tracks,

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the four of the tracks at the end, I had

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my bass player from the band, Dan Smiles or no

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on the bass guitar. My buddy Justin Fife helped with

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a bunch of these. Justin mckinnison also, they're both in

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the band with me. And then they had help from

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my friend Cassidy. That song we just played, she did

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some backup vocals on and she's on two other songs

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on the album. I met her in this past year,

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and yeah, just I heard her. We were at the

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same show and I heard her sing and I asked

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her to come feature on some songs, and she didn't.

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I was very glad it ended up working out really well.

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Speaker 1: Is she in a band or she isn't?

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Speaker 2: She actually does music therapy, I believe. Oh yeah, yeah,

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it's very cool. I'm a little jealous. It sounds like

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a fun thing to be doing.

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Speaker 1: But yeah.

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Speaker 2: And then my friend will Hart on one of the

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tracks that will probably play later steam Town, played some

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harmonica for us. So anyways, I had a bunch of

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people on this and snow Cone, my partner, did the

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al maartwork.

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Speaker 1: If.

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Speaker 2: For those who didn't see the picture, it's a kind

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of a newspaper front with the title of bright Future

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and reflection of an eye with atomic explosion in the background.

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So yeah, if to set the cynical tone there.

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Speaker 1: Yeah, I really liked the cover. I was curious about that. Yeah, uh,

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that's that's really cool. How how is your approach different

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to recording these than than with the band.

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Speaker 2: Well, I set out with the intent to just keep

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it so simple and just have my voice and the guitar,

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and I didn't let myself do that. And yeah, there's

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one track which ended up just being vocals and guitar

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and arrests had a lot more. But uh, you know,

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I mixed the band's record also, and we recorded that ourselves,

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and uh, I want to see how it would be

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to mix something without drums. So for me, the approach

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was thinking about the mix and that process of it,

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the post production of how's this going to be different?

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And I tried a bunch of different things on different songs,

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and in the future I'll look back and there'll be

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someone'll be like, Okay, that really worked, and others will

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be like, I should never have done.

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Speaker 1: That, right, Well, that's yeah, that's the inevitability of some

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of those. Yeah, yeah, exactly. But yeah, did you record

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these in a studio or did you do it at

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home or.

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Speaker 2: The studio being my apartment? Yeah, okay, yeah, yeah, much

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to my neighbor's chagrin, I'm sure.

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Speaker 1: Yeah. Wow, but you didn't have like a full drum

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set in there.

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Speaker 2: No, there wasn't that, Just a lot of takes of

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me being very loud.

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Speaker 1: Really Yeah, Oh that's funny. Uh you want to play

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I'm dying to hear you play live. Let me, uh

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pull that I'll pull that out. So, because we're already

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live on the air, we can't we can't do a

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proper soundtrack. But if you want to strum that guitar

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a little bit, got some Okay.

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Speaker 2: I know from history that people like hearing guitar be strums.

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Speaker 1: So yeah, well that sounds nice. Yeah, that sounds really

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good in the headphones.

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Speaker 2: Sounds great in my headphones. I'm not wearing any if

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you're not listening, not watching.

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Speaker 1: Right, yes, the uh, well radio is theater of the mine,

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so you could have actually just pretended to add headphones.

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Speaker 2: You want me to be full of deceit today? Is

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that what we're doing?

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Speaker 1: Well, it's early, you know, we can be more honest

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in the afternoon.

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Speaker 2: See that's the thing, it's true. Sub morning voice. We'll

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have some gravel here.

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Speaker 1: Oh that that can be a good thing. That can

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be a good thing. What are you going to play

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for us?

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Speaker 2: So this song is called Dive, and it's actually from

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this album and anything I've released, Probably the oldest song

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I have because I've wrote it as a very angsty teenager.

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I think it was probably sixteen or seventeen when I

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wrote this, But I always liked the song, and it's

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a kind of my experience with Catholicism and breaking away

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from that.

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Speaker 1: Oh interesting. I was raised Catholic, and I think a

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lot of people can. I haven't even where'd you play

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it yet, but I think a lot of people can

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probably relate.

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Speaker 2: You said a excuse me, you're gonna make it.

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Speaker 1: I'm not sick, but I was sick and like this

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cough just lingers forever.

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Speaker 2: Oh, they likes to do that. Yes, but this is

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the first song you wrote, not the first song I wrote. No, Oh, okay,

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that's just of the songs I've released. It's probably the

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oldest Oh I got you, including the songs I released

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back in like twenty seventeen. Oh okay, very very old.

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I have notebooks and notebooks full of songs, but this

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is the oldest one I probably recorded. So okay, okay, cool,

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you'll you'll hear the angst?

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Speaker 1: Yeah, yeah, all right. I'll look forward to this. So

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if you're just joining us, Squizzy Lord is here with

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us live in studio, and he's gonna play what's what

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is the name of it?

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Speaker 2: Dive dive?

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Speaker 1: All right, whenever you're.

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Speaker 3: Ready need me home, man the duck I will find.

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Speaker 4: Do we stun.

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Speaker 5: Forgive my simson, make me you one, refute everything and

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done while you're drowning in your light. You wim a

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failed to mask your spy.

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Speaker 4: You say that I shouldn't know my place. Scarce runs

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down my face.

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Speaker 5: How could you believe it's true that God send me

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to challenge you.

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Speaker 4: Well, that's what you say.

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Speaker 5: Higher, you say that high um build me up from

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ground to sky, break my wings, holl earn to fly?

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Don't you half a one to lie? They built mountains?

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A who know flies? Just suita, Let the wind take cumen,

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Oh dive tie die.

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Speaker 4: Through the blessing said in a since time.

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Speaker 3: The shadow in your minds call them friend, tell no,

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then you save, don't ask why?

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Speaker 4: On your neck with kilts and pain. You then left

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and the rain.

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Speaker 6: Pray for and.

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Speaker 4: Holy One, not the one on that this gun.

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Speaker 7: As children learn to walk, it's eats some hearts to

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talk all the words, not to say.

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Speaker 4: The prayers.

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Speaker 5: I'll never pray, save the bread and drink the wine.

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Sits still memorize your lines. No, I told you that

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I'm done.

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Speaker 4: Never meant to hurt anyone.

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Speaker 5: Build me up from crown to sky, break my wings

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on the earthly. Don't you have one too? Why they

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built mountains?

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Speaker 4: Salhoun of this just to time time, let the water

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take he came in, Oh tive side, time for the.

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Speaker 5: Blessing, send the sense, tell the shadow in your mind.

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Speaker 2: You can't accept his.

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Speaker 4: Hurt to you.

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Speaker 8: Just time, time, time out, tide die.

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Speaker 1: I love it, I love it, Quincy Raymond is, I'm sorry,

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Quincy Lauren dear slipped there is here with us live

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in studio. You know why that happened because I tagged

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you on Facebook with the picture I just shared out.

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But now, what a great song. I had a feeling

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I would find that relatable and enjoy that.

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Speaker 4: Does uh?

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Speaker 1: Just out of curiosity? Sure obviously. So with that song

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you so you were raised I assume in a Catholic family,

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How do they does anyone in your family have they

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ever said anything about Have they heard that song and

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said anything about it?

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Speaker 2: Or yeah? Well what I used to hear from because

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as an nansty teenager I did sing that up in

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my bedroom and my father would hear me going dive

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die have dive, and he'd be like, are you saying

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die die die? Like, oh, what is that song? You

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kept singing? Yeah? The comments I've had from my family

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since releasing it have mostly just been that ben that

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it sounds angsty, and they aren't wrong.

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Speaker 1: Okay.

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Speaker 2: I haven't been confronted in any such way. I get

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along with my family. We're on good terms, so, you know,

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gotta gotta poke the uh, gotta poke the bear little

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at holidays and such.

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Speaker 1: Right, Right, No one's threatened to have an official papal

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excommunication or anything.

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Speaker 2: Not quite yet. I can't can't say I'm too concerned.

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Speaker 1: About right, Yeah, yes, understood, But.

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Speaker 2: Yeah, that one's uh, it was a lot, but it

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was a lifetime ago. Also, yeah, you know, everyone's experience

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is different there. But I was like, someone might relate

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to this and hopefully it's a good song for someone

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who's still in that.

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Speaker 1: Yeah. Yeah, no, it's very very catchy. I like that

241
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a lot. I like that Quincy Lord is here with

242
00:13:01,840 --> 00:13:04,320
us and we're talking about the new album. Oh so

243
00:13:04,639 --> 00:13:07,000
where does the You talked about the artwork, But what

244
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about the title itself? A Bright Future?

245
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Speaker 2: It's just the that's just I don't know where it

246
00:13:13,320 --> 00:13:15,279
came to me. I've just been working on lyrics for

247
00:13:15,720 --> 00:13:18,120
the song of Bright Future, which I don't believe ever

248
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says that, but at some point I was thinking about

249
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what the title should be and looking at the track

250
00:13:23,200 --> 00:13:25,440
list and the other names, like, all right, what would

251
00:13:25,440 --> 00:13:28,960
be a good title, And as that song was originally

252
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called Faster Faster, which is something I repeat a lot

253
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throughout the song, but it just had the right kind

254
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of cynicism to me. Once we found a picture, I

255
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had the idea for that, Yeah, that name to come

256
00:13:42,200 --> 00:13:45,639
out and that song itself, by the way, the title

257
00:13:45,679 --> 00:13:51,519
track bright Future. I wrote that because my partner's fate.

258
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One of her favorite genres of types of song is

259
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really upbeat songs about the world ending. Yeah, so like

260
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we will become silhouettes by the SS It's into the

261
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world as we know it by Rim obviously, songs like that.

262
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And she was getting ready for work one day and

263
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uh I it must have been a weekend because I

264
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was home and uh I was just following her around

265
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one and just you know, making up words I heard

266
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and You're like, I actually kind of like that. Let

267
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me see if I can turn that into something.

268
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Speaker 1: Yeah, oh that's cool.

269
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Speaker 2: It's the goal was to write an upbeat song about

270
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you know, world ending, the fallout.

271
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Speaker 1: Yeah, yeah, no, I like it. Yeah, I was trying

272
00:14:37,639 --> 00:14:40,480
to think of some more examples of Yeah, it seems

273
00:14:40,519 --> 00:14:42,919
like there are quite a few. Yeah, you mentioned the

274
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end of the world as we know at RM. What

275
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else is?

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Speaker 5: Oh?

277
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Speaker 1: You know one that nobody ever thinks of?

278
00:14:47,519 --> 00:14:47,600
Speaker 9: Is?

279
00:14:47,679 --> 00:14:47,840
Speaker 6: Uh?

280
00:14:47,919 --> 00:14:49,639
Speaker 1: Do you know the song Wake Me Up on Judgment

281
00:14:49,720 --> 00:14:50,759
Day by Steve Winwood?

282
00:14:51,279 --> 00:14:51,759
Speaker 2: I don't.

283
00:14:52,000 --> 00:14:54,759
Speaker 1: Yeah, no one remembers that one, but you did. That's

284
00:14:55,159 --> 00:14:55,600
except me.

285
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Speaker 2: Steve Winwood would be very glad right now.

286
00:14:57,840 --> 00:15:00,559
Speaker 1: Yes, Yes, he's still alive, right, Steve would.

287
00:15:00,600 --> 00:15:02,000
Speaker 2: As far as I know. I think you still haven't

288
00:15:02,000 --> 00:15:02,679
talked to him in a while.

289
00:15:02,799 --> 00:15:08,399
Speaker 1: Yeah. Are there are there other themes? Or is there

290
00:15:08,440 --> 00:15:12,200
a theme? I probably not to the album because you

291
00:15:12,240 --> 00:15:14,480
mentioned that, you know, they've they've kind of come from.

292
00:15:15,039 --> 00:15:18,279
Speaker 2: Absolute, absolute chaos. Yeah, it's all over the place. It's

293
00:15:18,480 --> 00:15:19,840
no rhyme or reason throughout.

294
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Speaker 1: But it is cohesive because, like I said, I listened

295
00:15:24,240 --> 00:15:26,240
to the whole thing and I and I listened to

296
00:15:26,279 --> 00:15:28,159
everything at once. I didn't, you know, it sound like

297
00:15:28,159 --> 00:15:30,200
I listened to some and then listen more later. So

298
00:15:30,279 --> 00:15:31,720
to me it seemed really cohesive.

299
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Speaker 2: Well, despite when they were written, at the very least

300
00:15:33,840 --> 00:15:36,320
they were for the most part they were recorded or

301
00:15:36,320 --> 00:15:39,279
at least mixed at the same time. Yeah, a couple

302
00:15:39,360 --> 00:15:42,879
of songs that did start recording in like uh twenty eighteen,

303
00:15:42,919 --> 00:15:44,759
twenty nineteen. It was just like, I'm not redoing this.

304
00:15:44,840 --> 00:15:47,080
I'm just going to keep those files and yeah, I

305
00:15:47,440 --> 00:15:49,200
sound the same. I'm sure it's going to be fine,

306
00:15:49,480 --> 00:15:52,320
right right, But uh, it was not really theme, I mean,

307
00:15:52,360 --> 00:15:56,200
with a Bright Future. It was just the reason that

308
00:15:56,200 --> 00:15:58,320
that was like the strongest feeling, is why I guess

309
00:15:58,399 --> 00:16:02,080
I kept that as the title for the album. Just

310
00:16:02,320 --> 00:16:06,080
you know, there's a lot of anxieties. I think Monday

311
00:16:06,240 --> 00:16:07,799
is going to be an anxious day for a lot

312
00:16:07,840 --> 00:16:09,919
of people. If you have no idea what's going on

313
00:16:10,000 --> 00:16:13,879
in politics, you can figure it out. But yeah, which,

314
00:16:15,720 --> 00:16:18,679
well there is that, but uh, just a lot of

315
00:16:19,720 --> 00:16:22,240
terrible things happening in the world at all times and

316
00:16:23,039 --> 00:16:27,919
general consciousness of that is enough to weigh on someone,

317
00:16:27,960 --> 00:16:31,519
I think, and got to keep living life as in

318
00:16:31,559 --> 00:16:32,600
the world we are and you.

319
00:16:32,559 --> 00:16:37,919
Speaker 1: Know, yes, yes, hope for the best boy.

320
00:16:38,840 --> 00:16:43,360
Speaker 2: Yeah, sorry, I started your political wheel turning here.

321
00:16:43,799 --> 00:16:47,240
Speaker 1: Yeah, uh, yeah, what you know, we used to do

322
00:16:47,320 --> 00:16:50,039
politics on the show and then we we took that element.

323
00:16:49,720 --> 00:16:51,159
Speaker 2: Out of the I didn't know you took it out

324
00:16:51,960 --> 00:16:52,519
well out of.

325
00:16:52,440 --> 00:16:54,440
Speaker 1: The wm n H version of the show. Now I

326
00:16:54,480 --> 00:17:00,200
only do that online. But but but I am uh.

327
00:16:59,279 --> 00:17:02,080
Speaker 2: You're gonna make it Matt. Matt needs a little drink.

328
00:17:02,120 --> 00:17:05,200
Speaker 1: I think that's what's causing my my cough is the

329
00:17:04,400 --> 00:17:11,000
uh sense of dread and doom I feel. But anyway, well,

330
00:17:11,039 --> 00:17:12,160
I do need a gulp of water.

331
00:17:13,160 --> 00:17:15,240
Speaker 2: That's right. We're gonna We're just gonna play a little

332
00:17:15,240 --> 00:17:15,759
waiting music.

333
00:17:15,799 --> 00:17:23,200
Speaker 1: Well, that's right. Oh I like that. That's nice to

334
00:17:23,279 --> 00:17:26,319
help spring my stress level down too. It's very peppy.

335
00:17:28,319 --> 00:17:29,519
You can make a song about the end of the

336
00:17:29,559 --> 00:17:32,680
world out of that, sure could, But you can just

337
00:17:32,680 --> 00:17:35,960
make it about Monday. Although it is Martin Luther King

338
00:17:36,039 --> 00:17:37,960
day to Monday. So that's positive.

339
00:17:38,279 --> 00:17:38,680
Speaker 2: There you go.

340
00:17:38,759 --> 00:17:41,519
Speaker 1: There's a It's weird though, that these two things are

341
00:17:41,799 --> 00:17:43,000
converging on the same day.

342
00:17:43,039 --> 00:17:44,319
Speaker 2: Yeah, they don't seem to go together.

343
00:17:44,400 --> 00:17:48,920
Speaker 1: No, they really do not. They certainly do not.

344
00:17:49,279 --> 00:17:54,119
Speaker 2: Yeah, but uh, now that's that's the least we can

345
00:17:54,119 --> 00:17:54,720
say about it.

346
00:17:54,880 --> 00:17:59,960
Speaker 1: Yeah, exactly. Now with the band, so with Sunset Elelecture,

347
00:18:00,839 --> 00:18:06,400
I know them, yes, yes, so are you? While you

348
00:18:06,440 --> 00:18:10,039
were recording this album. Did the band keep going or

349
00:18:10,079 --> 00:18:11,839
did you guys take a break while you were doing this?

350
00:18:12,039 --> 00:18:13,839
Speaker 2: I don't know the band kick guard. I did this

351
00:18:14,279 --> 00:18:18,160
very slowly over this past year. There was like weeks

352
00:18:18,160 --> 00:18:20,359
of focus and weeks I didn't touch it at all,

353
00:18:20,400 --> 00:18:22,640
and that's some of it. That was just writing songs.

354
00:18:22,680 --> 00:18:27,359
But no, we've been we've been playing. We have a

355
00:18:27,480 --> 00:18:29,400
couple of shows coming up. We're gonna be at a

356
00:18:29,480 --> 00:18:33,400
Huskies pub and Wooster on the eighth and of February.

357
00:18:34,200 --> 00:18:37,680
And uh, we're around. But we have been working on

358
00:18:38,680 --> 00:18:41,319
a new album. Also, we're in writing stages, but we're

359
00:18:41,319 --> 00:18:44,799
almost done writing the next record and excellent, which you know.

360
00:18:44,880 --> 00:18:47,079
Sometimes I would start a song intending it to be

361
00:18:47,119 --> 00:18:48,799
for my solo thing and I was like, ah, nah,

362
00:18:49,039 --> 00:18:50,960
the band will like this one, and yeah, you know,

363
00:18:51,440 --> 00:18:54,279
just bringing songs into them and seeing what sticks and

364
00:18:54,319 --> 00:18:57,400
what they vibe would so yeah, but no, we've still

365
00:18:57,400 --> 00:19:00,680
been going. We have a great time playing and practicing,

366
00:19:00,759 --> 00:19:03,960
and yeah, it's a blast. I always look forward to

367
00:19:03,960 --> 00:19:07,160
playing with the band. I like playing the solo shows too, Obviously,

368
00:19:07,200 --> 00:19:10,079
it's a whole different experience. I can play soft stuff,

369
00:19:10,119 --> 00:19:13,000
I can get more lyrical, but The energy is great

370
00:19:13,000 --> 00:19:15,720
when the band's playing and people are clapping and singing

371
00:19:15,759 --> 00:19:18,880
along and we're full of antics and jumping around and

372
00:19:18,920 --> 00:19:21,039
messing with each other. It's it's always fun.

373
00:19:21,200 --> 00:19:23,799
Speaker 1: Yeah. Now with the solo shows, do you do like

374
00:19:23,839 --> 00:19:26,960
really lying sets? You do like multi hour? Yeah?

375
00:19:27,039 --> 00:19:28,720
Speaker 2: Usually? I mean I do a lot of breweries. I'm

376
00:19:28,759 --> 00:19:31,759
actually today I'm playing at a seven Saws brewing in

377
00:19:31,799 --> 00:19:34,599
a Holden, mass That's one of my favorite spots. But

378
00:19:35,039 --> 00:19:37,839
I'm playing there a very long time. Yeah, like how long,

379
00:19:38,039 --> 00:19:42,319
like before COVID, probably like twenty eighteen, I want to

380
00:19:42,359 --> 00:19:45,240
say I started, which might be around when they opened.

381
00:19:46,519 --> 00:19:48,160
I lived in Lemonster at the time, so it was

382
00:19:48,160 --> 00:19:50,519
a lot closer. Yeah, so it made sense that I

383
00:19:50,599 --> 00:19:53,640
found them and was going there. But yeah, I've been

384
00:19:53,640 --> 00:19:56,920
going there. I was there every Sunday for as a

385
00:19:57,000 --> 00:19:59,119
duo with one of my bandmates for a good while.

386
00:19:59,160 --> 00:20:01,680
But anyways, I'll be there. But yeah, it's like a

387
00:20:01,720 --> 00:20:03,759
three hour set when I'm playing at a brewery, which

388
00:20:03,759 --> 00:20:06,319
you know, I like to play my originals do a

389
00:20:06,319 --> 00:20:08,880
lot and people are very receptive to that.

390
00:20:09,039 --> 00:20:09,200
Speaker 1: Yeah.

391
00:20:09,319 --> 00:20:11,839
Speaker 2: Good, But I also you know, play covers and make

392
00:20:11,839 --> 00:20:14,079
people happy. Sure, the best thing is when you play

393
00:20:14,079 --> 00:20:16,599
a cover a song you know but that's not popular,

394
00:20:16,640 --> 00:20:19,759
and people come, I really like that's original of yours. Yeah,

395
00:20:19,839 --> 00:20:22,200
well you picked a one that wasn't mine, but I

396
00:20:22,279 --> 00:20:23,519
understand I love it too.

397
00:20:23,720 --> 00:20:26,880
Speaker 1: Yeah, yeah, no, it's funny when that happens, because, yeah,

398
00:20:26,960 --> 00:20:28,680
you know, we've had a lot of guests over the

399
00:20:28,720 --> 00:20:31,119
years who you know, they'll they'll do covers, but they'll

400
00:20:31,119 --> 00:20:34,039
do something obscure and then people don't even know.

401
00:20:35,079 --> 00:20:36,839
Speaker 2: It's just associated with them forever.

402
00:20:37,119 --> 00:20:40,839
Speaker 1: Yeah. I was in a band where we years ago,

403
00:20:41,000 --> 00:20:42,359
long time ago. I was in a band called My

404
00:20:42,440 --> 00:20:44,680
Life Crisis, and we did a Kiss cover, but we

405
00:20:44,720 --> 00:20:47,480
did a song called Hate, which is from their most

406
00:20:47,519 --> 00:20:50,400
obscure album and only the most diehard Kiss fans even

407
00:20:50,440 --> 00:20:53,400
know about. And it sounded so much like everything else,

408
00:20:53,519 --> 00:20:55,839
like all our originals that yeah, nobody knew.

409
00:20:56,640 --> 00:20:57,720
Speaker 2: What did you do in the band?

410
00:20:57,920 --> 00:20:58,799
Speaker 1: I was a bass player?

411
00:20:59,200 --> 00:21:00,799
Speaker 2: How'd you like it? Do you still play?

412
00:21:01,200 --> 00:21:03,720
Speaker 1: I haven't picked up a bass in a long time, yeah,

413
00:21:03,759 --> 00:21:05,880
but I used to be. I was pretty active at

414
00:21:05,880 --> 00:21:07,559
one point. I was in three different bands at once

415
00:21:07,599 --> 00:21:10,759
and we were all doing a lot of shows. But

416
00:21:10,799 --> 00:21:13,319
I never started a family because obviously you can't do

417
00:21:13,359 --> 00:21:17,359
that if you have kids. So I avoided that. But yeah,

418
00:21:17,359 --> 00:21:19,200
now I'm just too busy with other things, so I haven't.

419
00:21:19,400 --> 00:21:21,799
I haven't played in a long time, but sometimes I

420
00:21:21,839 --> 00:21:23,319
miss it and then I remember all the work that

421
00:21:23,359 --> 00:21:25,200
goes into it and it's like, yeah, I don't miss

422
00:21:25,240 --> 00:21:25,759
it that much.

423
00:21:27,160 --> 00:21:27,839
Speaker 2: Labor of love.

424
00:21:27,880 --> 00:21:31,039
Speaker 1: I think they'd say, yeah, absolutely. But the nice thing

425
00:21:31,039 --> 00:21:33,039
about what you're doing when you do it solo acoustic,

426
00:21:33,079 --> 00:21:35,119
of course, that opens up a lot of different places

427
00:21:35,119 --> 00:21:38,359
you can play, and like, like, you have no shortage

428
00:21:38,359 --> 00:21:40,599
of opportunity. I'm sure as far as where you play.

429
00:21:40,519 --> 00:21:43,680
Speaker 2: Yeah, you can one one person can fit in wherever,

430
00:21:43,960 --> 00:21:46,480
exact web side. If you haven't a bad day for

431
00:21:46,519 --> 00:21:49,000
your voice or you're just all over to play, you

432
00:21:49,039 --> 00:21:50,759
have no one to blame, like, oh no, the drummer

433
00:21:50,920 --> 00:21:53,640
was the drummer was hammered that day, Like, you can't

434
00:21:53,680 --> 00:21:55,920
blame the drummer when it's just you, Like, no, that

435
00:21:55,920 --> 00:22:00,440
that was just me not being perfect. Sorry, guys, Yeah, yeah,

436
00:22:00,599 --> 00:22:01,799
it's been known to happen.

437
00:22:02,079 --> 00:22:06,279
Speaker 1: Yes, yes, if you're just joining us. Casey, lord, Casey,

438
00:22:06,359 --> 00:22:09,200
what what am I doing? Quincy, Lord, Matt's having a day.

439
00:22:09,319 --> 00:22:10,920
I am I'm thinking about Monday.

440
00:22:10,920 --> 00:22:12,440
Speaker 2: I'm gonna write it down for you next time.

441
00:22:12,640 --> 00:22:15,519
Speaker 1: Yes, I think I'm thinking about Monday and I'm distracted.

442
00:22:16,160 --> 00:22:18,720
Nothing nothing too terrible, well at least not the first day.

443
00:22:18,799 --> 00:22:20,200
Nothing terrible will happen, I'm sure.

444
00:22:20,599 --> 00:22:22,559
Speaker 2: Well the next day, I think there's some terrible plans.

445
00:22:22,680 --> 00:22:24,160
No week, we should probably the.

446
00:22:24,119 --> 00:22:26,480
Speaker 1: Next day, Yeah, well we'll we'll enjoy the holiday. The

447
00:22:26,480 --> 00:22:29,400
next day we'll we'll be terrible. But uh, do you

448
00:22:29,440 --> 00:22:31,720
want to you want to play another live one for us? Yeah?

449
00:22:31,759 --> 00:22:32,079
Speaker 2: Why not?

450
00:22:32,200 --> 00:22:36,759
Speaker 1: Dying to hear another one? Let me, uh get that

451
00:22:37,160 --> 00:22:42,400
other mic back up there. That guitar sounds nice.

452
00:22:43,799 --> 00:22:44,720
Speaker 2: Sure, I'm gonna play you.

453
00:22:44,799 --> 00:22:44,960
Speaker 8: Uh.

454
00:22:45,160 --> 00:22:47,200
Speaker 2: This was one of the songs I actually had released

455
00:22:47,240 --> 00:22:50,960
already with Sunset Electric, but I released as an acoustic

456
00:22:51,079 --> 00:22:52,759
version of this album because it's a lot of fun

457
00:22:52,799 --> 00:22:55,640
and uh, I don't think. I'm pretty sure I didn't

458
00:22:55,640 --> 00:22:58,000
play it last semess here it's called the Inn Okay, Well, no,

459
00:22:58,039 --> 00:23:00,759
we've we played the recording last time. That's it. Okay,

460
00:23:02,000 --> 00:23:03,559
but I want to play it, so we're going to

461
00:23:03,799 --> 00:23:07,319
awesome answer. I know it's a guess. It's about feeling lost,

462
00:23:07,440 --> 00:23:21,359
it's a it's frun, oh my, oh.

463
00:23:21,440 --> 00:23:27,039
Speaker 10: My, you're sat my sore eyes reach footprints from the dark.

464
00:23:27,720 --> 00:23:31,319
Come sit behind up one's lights and you're in a

465
00:23:31,480 --> 00:23:36,000
dark place. We've all given to desire with the blind

466
00:23:36,119 --> 00:23:39,720
leading the blind, and you're preaching to the bar.

467
00:23:40,319 --> 00:23:45,359
Speaker 5: I said, tell me where the car? Where I can

468
00:23:45,599 --> 00:23:51,400
lay my bow? Where can lay my bo? I said,

469
00:23:51,599 --> 00:23:54,440
bo shack, call to the bow?

470
00:23:55,480 --> 00:24:12,839
Speaker 4: Where lemma? Where my bone? This is my own night loma.

471
00:24:13,480 --> 00:24:15,559
Oh mah see you're.

472
00:24:15,440 --> 00:24:21,480
Speaker 5: Not ecusole through your ashes through the wind, losing low

473
00:24:21,599 --> 00:24:27,279
control this fick orang nights from a single out deacon.

474
00:24:28,480 --> 00:24:32,039
You can say to night, but you can't say bob

475
00:24:32,119 --> 00:24:33,359
yasin say nothing.

476
00:24:33,839 --> 00:24:38,640
Speaker 4: Oh tell me where to go? Where I can let

477
00:24:38,759 --> 00:24:39,640
him a bottle?

478
00:24:40,440 --> 00:24:42,160
Speaker 8: Where can leam my bone?

479
00:24:43,920 --> 00:24:47,440
Speaker 4: I said, shall go to the road?

480
00:24:48,480 --> 00:24:50,599
Speaker 1: Where can I lena pounce?

481
00:24:51,160 --> 00:24:58,160
Speaker 4: Where can name that boat? Man can's called half night?

482
00:25:02,519 --> 00:25:13,160
Has her her? You don't drop the part slice he's

483
00:25:13,200 --> 00:25:16,720
a ta be sure, But I'm not.

484
00:25:18,200 --> 00:25:19,319
Speaker 2: To come up.

485
00:25:51,920 --> 00:25:52,559
Speaker 1: I did not.

486
00:25:54,200 --> 00:25:58,759
Speaker 4: I'm searching for home. It's pleased to come my own

487
00:25:59,279 --> 00:25:59,599
on my.

488
00:26:02,480 --> 00:26:04,319
Speaker 2: Did meet to this road?

489
00:26:05,359 --> 00:26:14,599
Speaker 5: Where can a lammabones wah, tell me where to go?

490
00:26:16,000 --> 00:26:27,079
Whereckma problems that Puble Shock all through the ball Where

491
00:26:27,119 --> 00:26:27,920
can a Lama?

492
00:26:29,519 --> 00:26:38,240
Speaker 4: Where? Well?

493
00:26:38,400 --> 00:26:39,240
Speaker 6: No, are I.

494
00:26:43,079 --> 00:26:44,279
Speaker 4: Weak? Lemma?

495
00:26:48,319 --> 00:26:51,480
Speaker 1: Oh that is cool. I really like that. Yeah, that

496
00:26:51,640 --> 00:26:54,480
sounded great. If you're just joining us, we have Quincy

497
00:26:54,559 --> 00:26:57,799
Layd here with us live in studio playing some tracks

498
00:26:57,880 --> 00:27:00,400
live and of course we're featuring songs from his new album,

499
00:27:00,759 --> 00:27:05,079
A Bright Future and Refresh my Memory. Is it out

500
00:27:05,160 --> 00:27:06,160
now or is it coming out?

501
00:27:06,240 --> 00:27:07,640
Speaker 2: It is out now. I think it came out on

502
00:27:08,000 --> 00:27:08,759
January first.

503
00:27:08,920 --> 00:27:12,359
Speaker 1: Felt appropriate, Yeah, excellent. So it's uh, it's on all

504
00:27:12,400 --> 00:27:13,400
the streaming platforms.

505
00:27:13,480 --> 00:27:15,440
Speaker 2: It is on all the streaming platforms as far as

506
00:27:15,519 --> 00:27:17,920
I know. We had a little issue with Apple, but

507
00:27:18,000 --> 00:27:20,440
it's live there now too. So for those who were

508
00:27:20,680 --> 00:27:21,519
asking me about it.

509
00:27:21,839 --> 00:27:25,119
Speaker 1: Oh, what was the problem with Apple? I'm always curious

510
00:27:25,160 --> 00:27:27,039
about this type of thing. I have no idea.

511
00:27:27,079 --> 00:27:30,440
Speaker 2: It was just from the distributors, just like, oh, delivery

512
00:27:30,519 --> 00:27:32,960
to iTunes and Apple failed, it said, and I emailed

513
00:27:33,000 --> 00:27:35,480
them like six times and they got back to me

514
00:27:35,599 --> 00:27:37,799
last night being like oh it's fixed.

515
00:27:37,599 --> 00:27:39,720
Speaker 1: Now, and like well thanks, oh okay, good good.

516
00:27:39,799 --> 00:27:41,799
Speaker 2: Only took them a couple of weeks. It could be worse.

517
00:27:42,359 --> 00:27:45,200
Busy Distro kid, is that who you used CD Baby

518
00:27:45,240 --> 00:27:47,160
in the case, I used to use distro Kid, but

519
00:27:47,799 --> 00:27:50,480
it was a didn't end up being worth it.

520
00:27:50,960 --> 00:27:53,200
Speaker 1: Yeah, I've heard that from from quite a few people.

521
00:27:53,200 --> 00:27:55,480
Speaker 2: Well, it depends if you're someone that. Uh. I have

522
00:27:55,559 --> 00:27:57,400
friends who just like you know, they'll have an idea

523
00:27:57,400 --> 00:28:00,319
and they'll just knock out some recording, especially it's like

524
00:28:00,640 --> 00:28:03,440
house music or whatever. Yeah, just something like that where

525
00:28:03,480 --> 00:28:06,480
they're or tecto or whatever and they'll just you know,

526
00:28:06,720 --> 00:28:08,799
upload a song at a time, and yeah, you know,

527
00:28:08,920 --> 00:28:11,279
having a subscription, which is how district it works, and

528
00:28:11,319 --> 00:28:13,799
you just upload all you want as opposed to per release,

529
00:28:14,160 --> 00:28:16,359
then it's worth it for those people. But yeah, the

530
00:28:16,480 --> 00:28:18,319
trouble is if you ever stop paying them to take

531
00:28:18,359 --> 00:28:19,960
your music down, or you have to give them fifty

532
00:28:20,000 --> 00:28:23,240
bucks per release, which is a lot of money.

533
00:28:23,440 --> 00:28:23,640
Speaker 6: Yeah.

534
00:28:24,640 --> 00:28:29,920
Speaker 1: Yeah, wow, are you doing physical CDs as well? Or

535
00:28:30,119 --> 00:28:33,680
I am? I think I have some with me. Oh okay, cool. Yeah,

536
00:28:34,119 --> 00:28:38,000
that's it's interesting how that's changed over the years, because

537
00:28:38,200 --> 00:28:41,680
you know, when I first started interviewing bands, and you know,

538
00:28:41,759 --> 00:28:43,720
it was it was a long time ago. And just

539
00:28:43,799 --> 00:28:45,319
give you an idea of how long ago it was

540
00:28:45,880 --> 00:28:47,759
when I first started. This was before I was at

541
00:28:47,880 --> 00:28:52,599
WM andh like, guests wouldn't be even Oh I should

542
00:28:52,640 --> 00:28:59,680
have turned that mic down. There we go. So before

543
00:28:59,680 --> 00:29:03,640
I was at WM and h uh, instead of sending

544
00:29:03,720 --> 00:29:06,720
me emailing me files, before people were really comfortable with that,

545
00:29:07,240 --> 00:29:10,039
people would give me a CD. And the move was

546
00:29:10,440 --> 00:29:14,960
very often and this was typical. Uh, the CD wouldn't

547
00:29:14,960 --> 00:29:17,000
even be in a case. It would be on a

548
00:29:17,119 --> 00:29:19,720
CDR and they would write on it with sharpy what

549
00:29:19,799 --> 00:29:21,319
it was, and they would hand it to me on

550
00:29:21,440 --> 00:29:24,559
their finger. It's no case, and.

551
00:29:26,079 --> 00:29:26,240
Speaker 9: You know.

552
00:29:26,519 --> 00:29:29,319
Speaker 1: And then of course, eventually people got comfortable with just

553
00:29:29,440 --> 00:29:33,079
emailing tracks using Dropbox and services like that, Google Drive

554
00:29:33,119 --> 00:29:37,240
and whatnot. And then so that stopped. But also a

555
00:29:37,359 --> 00:29:39,880
lot of a lot of people just stopped, you know,

556
00:29:40,000 --> 00:29:43,839
because there was this thought, well, everything's online now and

557
00:29:44,000 --> 00:29:46,720
with Spotify and everything, there's no reason to make CDs.

558
00:29:46,839 --> 00:29:48,640
And then and so it seems like for a while,

559
00:29:49,359 --> 00:29:50,960
most of the guests I had, you know, I would

560
00:29:50,960 --> 00:29:52,559
ask them, while, are you going to do a physical CD?

561
00:29:52,640 --> 00:29:55,119
And they'd look at me like I was nuts. And

562
00:29:55,240 --> 00:29:57,160
then but now, over the past I don't know, five

563
00:29:57,240 --> 00:30:00,240
or six years, probably you know, everybody's doing CDs again.

564
00:30:00,359 --> 00:30:03,160
And some are even doing vinyl, which apparently is very expensive.

565
00:30:03,319 --> 00:30:06,480
Speaker 2: But there's definitely a vinyl resurgence for sure.

566
00:30:06,680 --> 00:30:09,599
Speaker 1: Yeah, yeah, well I think I think it was twenty

567
00:30:09,680 --> 00:30:14,200
twenty two was the first year that vinyl actually outsold CDs.

568
00:30:14,519 --> 00:30:17,720
Speaker 2: I did hear that? Yeah, well, you know, the biggest

569
00:30:17,720 --> 00:30:19,680
issue here is anyone buying a new car for the

570
00:30:19,759 --> 00:30:23,880
past five years, I'm guessing the vast majority don't have

571
00:30:24,000 --> 00:30:27,279
CD players in them. I bought a new car last year.

572
00:30:27,359 --> 00:30:29,319
I had to get it of my old one, and

573
00:30:29,440 --> 00:30:31,799
I went from having, you know, a six CD changer

574
00:30:31,880 --> 00:30:34,400
that I had all my favorites in and you know

575
00:30:34,519 --> 00:30:37,680
that one of those books that just has full of

576
00:30:37,720 --> 00:30:40,680
little CDs. Oh yeah, you know, have a couple hundred

577
00:30:40,720 --> 00:30:43,200
CDs in there. And you know, if you're driving out

578
00:30:43,240 --> 00:30:46,480
in the boondogs and don't have service, you know, didn't

579
00:30:46,519 --> 00:30:48,240
have to worry about having songs on my phone. I

580
00:30:48,279 --> 00:30:51,799
could just you know, yes, And I like listening to

581
00:30:51,880 --> 00:30:55,640
records start to bottom. A lot of people don't like

582
00:30:55,799 --> 00:30:58,400
doing that, don't have the attention for it. But I

583
00:30:58,599 --> 00:31:00,319
like to commit and see what's going on.

584
00:31:00,599 --> 00:31:00,799
Speaker 1: Yep.

585
00:31:01,599 --> 00:31:04,319
Speaker 2: But uh, you know, I've always liked doing CDs it's

586
00:31:04,319 --> 00:31:06,759
good to just have like a little a little something.

587
00:31:07,200 --> 00:31:08,880
Speaker 1: Well that's the thing. You know, it's fun to listen

588
00:31:09,279 --> 00:31:11,480
or it's fun to look at liner notes and the

589
00:31:11,599 --> 00:31:14,359
artwork and everything that whole experience. I mean, that's you know.

590
00:31:14,440 --> 00:31:16,519
When I was a kid, I always loved you know,

591
00:31:16,559 --> 00:31:18,680
if I was really into an artist, I would actually

592
00:31:18,799 --> 00:31:22,039
read everything that was in there, like like who their

593
00:31:22,119 --> 00:31:24,519
manager was, you know, just everything. If I was really

594
00:31:24,599 --> 00:31:25,400
into somebody, you know.

595
00:31:26,440 --> 00:31:28,640
Speaker 2: Like, oh this guy played sex phone on that one song.

596
00:31:28,720 --> 00:31:29,559
That's very interesting.

597
00:31:29,759 --> 00:31:32,680
Speaker 1: H yeah, because I could get obsessive if I still can.

598
00:31:32,880 --> 00:31:35,160
But but it's cool that it, you know that it

599
00:31:35,279 --> 00:31:40,920
never went away, even even cassettes. I think it was

600
00:31:40,960 --> 00:31:42,680
about five or six years ago. I was on band

601
00:31:42,759 --> 00:31:46,599
camp dot com and just looking for new artists in

602
00:31:46,680 --> 00:31:50,160
the area and I found somebody who was making cassettes.

603
00:31:50,720 --> 00:31:52,119
And the first one that I found, I thought it

604
00:31:52,200 --> 00:31:53,599
was a fluke and I was like, oh, they're doing

605
00:31:53,680 --> 00:31:55,319
this kind of retro thing, you know, is it like

606
00:31:55,319 --> 00:31:57,839
an indie pop band from pan State College or something.

607
00:31:58,359 --> 00:32:01,559
And then I found more and I'm like, oh my god,

608
00:32:03,160 --> 00:32:03,960
it's crazy.

609
00:32:05,000 --> 00:32:09,359
Speaker 2: But yeah, it's definitely a retro hipster kind of thing.

610
00:32:09,400 --> 00:32:12,279
I mean, yeah, the only people I really usually see

611
00:32:12,400 --> 00:32:17,079
selling cassettes are like folk punk slash crusspunk bands and

612
00:32:18,079 --> 00:32:21,359
you know, very di y and indie people. I don't

613
00:32:21,359 --> 00:32:26,480
see many eight tracks anymore. No, yeah, my one my bandmate,

614
00:32:26,559 --> 00:32:29,160
and I'm in another band called Pants to the band

615
00:32:29,279 --> 00:32:33,079
that's largely the same members but all had different roles

616
00:32:33,799 --> 00:32:37,400
as a sunset. But our keyboardist, just Mcinness, is the

617
00:32:37,480 --> 00:32:40,559
singer in Pants. It's all his songs since Old Vibe. Anyways,

618
00:32:41,400 --> 00:32:44,640
he has the means to record eight track really and

619
00:32:44,880 --> 00:32:47,759
he's he's dead set on, you know, our next recording,

620
00:32:47,960 --> 00:32:51,799
just releasing a couple like that just to say we could.

621
00:32:52,039 --> 00:32:52,599
Speaker 1: That's fun.

622
00:32:52,960 --> 00:32:55,759
Speaker 2: I do remember seeing Cheap Trick like ten years ago

623
00:32:55,880 --> 00:32:58,319
and they had just as a gag, released an eight

624
00:32:58,440 --> 00:33:02,319
track of their new record at the time, just that

625
00:33:02,400 --> 00:33:03,920
they could say they have the number one eight track

626
00:33:03,960 --> 00:33:06,680
in the world. Yeah, which, yeah, I guess so also

627
00:33:06,720 --> 00:33:08,759
the only But yeah, I was.

628
00:33:08,799 --> 00:33:11,200
Speaker 1: In a band called The Jakes. This was like twenty

629
00:33:11,279 --> 00:33:12,839
years ago, and we had a running joke in the

630
00:33:12,880 --> 00:33:14,640
band that we were going to release like a single,

631
00:33:15,440 --> 00:33:17,200
and of course if we did, but if we did

632
00:33:17,279 --> 00:33:19,960
that today, you know it would kind of be almost normal.

633
00:33:20,279 --> 00:33:23,240
People would be like, oh, that's cool retrothegue.

634
00:33:22,680 --> 00:33:24,160
Speaker 2: Yeah, and then be like, how do we use it?

635
00:33:24,559 --> 00:33:25,279
Speaker 1: Right? Exactly.

636
00:33:25,440 --> 00:33:27,079
Speaker 2: The tracks also have the dumb thing where they like

637
00:33:27,279 --> 00:33:29,440
flip over part way through and oh yeah, sometimes in

638
00:33:29,480 --> 00:33:32,079
the middle of a song if they plan it poorly. Yeah,

639
00:33:32,319 --> 00:33:34,039
or the track list will be in a different order

640
00:33:34,200 --> 00:33:37,559
than like on a CD or vinyl, a different order

641
00:33:37,559 --> 00:33:40,160
than name intended, just so it fits, yeah, and like

642
00:33:40,279 --> 00:33:41,279
that's that's not okay.

643
00:33:41,640 --> 00:33:45,640
Speaker 1: Yeah, yeah, but yeah, it's interesting to see how the

644
00:33:45,759 --> 00:33:49,319
technologies change and how things Some things never go away.

645
00:33:49,519 --> 00:33:51,480
You know, a lot of people have this impression that

646
00:33:51,720 --> 00:33:54,759
vinyl went away and then it came back, but it

647
00:33:54,880 --> 00:33:55,920
never actually went away.

648
00:33:56,039 --> 00:33:58,079
Speaker 2: I mean, even it got cheap is what happened, and

649
00:33:58,079 --> 00:33:59,480
it got expensive again.

650
00:33:59,359 --> 00:34:03,079
Speaker 1: Yeah, exactly exactly. But even at its lowest EBB, you know,

651
00:34:03,160 --> 00:34:05,759
all the major labels were still releasing by you know,

652
00:34:06,039 --> 00:34:07,680
limited edition vinyl or whatnot.

653
00:34:07,680 --> 00:34:09,480
Speaker 2: But yeah, it was always like a cool thing that bands.

654
00:34:09,639 --> 00:34:14,519
It's just very expensive, so it's often inaccessible to smaller bands.

655
00:34:15,199 --> 00:34:19,000
Speaker 1: Yeah, and I'm convinced, Uh, there's no statistical data to

656
00:34:19,159 --> 00:34:23,039
prove this, but I'm sure that most people. Probably the

657
00:34:23,119 --> 00:34:26,199
vast majority of people who buy vinyl don't even have

658
00:34:26,280 --> 00:34:27,920
a record player, don't have anything to put it on.

659
00:34:28,039 --> 00:34:30,679
They just buy it because, you know, if you're really

660
00:34:30,719 --> 00:34:32,719
a fan. I'm talking about if you're buying like brand

661
00:34:32,760 --> 00:34:34,239
new vinyl, not if you're going to I mean, if

662
00:34:34,239 --> 00:34:36,079
you're going to a record store and flipping through and

663
00:34:36,159 --> 00:34:39,119
buying use, you know, old vinyl, obviously you have something

664
00:34:39,159 --> 00:34:41,559
to play it on, probably unless you're looking for something rare,

665
00:34:41,960 --> 00:34:43,719
just to have it. But I think most people who

666
00:34:43,760 --> 00:34:45,480
buy new vinyl, they probably don't have anything to play

667
00:34:45,480 --> 00:34:47,519
it on. They just if they're a fan of an artist.

668
00:34:47,480 --> 00:34:49,840
Speaker 2: Right, it's just cool to have it. Lot of people

669
00:34:49,880 --> 00:34:52,280
hang them on the walls. Yeah, exactly, they do a

670
00:34:52,320 --> 00:34:54,159
lot of I don't know what to call it, but

671
00:34:54,360 --> 00:34:56,079
you know, instead of just a plain black record, it's

672
00:34:56,079 --> 00:34:58,119
like it will be like a cool splattered thing or

673
00:34:58,639 --> 00:35:01,679
have all different colors in there and whatever process they

674
00:35:01,760 --> 00:35:04,320
go through, but you know, to make it pretty to

675
00:35:04,719 --> 00:35:05,159
look at.

676
00:35:05,400 --> 00:35:06,039
Speaker 1: Yeah, exactly.

677
00:35:06,039 --> 00:35:07,599
Speaker 2: The only time I really buy a new one is

678
00:35:08,239 --> 00:35:12,679
some of the some of my favorite bands that are smaller, uh,

679
00:35:13,199 --> 00:35:14,760
you know, I go and see them live and I

680
00:35:14,920 --> 00:35:16,480
like to support them. And buy their merch So that's

681
00:35:16,480 --> 00:35:18,400
when I'll buy one, and I'll you know, i'll throw

682
00:35:18,480 --> 00:35:20,800
it on. But in reality, I'll play it once or twice,

683
00:35:20,960 --> 00:35:22,960
or at home on a rainy day or something once

684
00:35:23,000 --> 00:35:26,280
in a while. But yeah, it's you know, it's there's

685
00:35:26,360 --> 00:35:28,719
not much reason for me to put on vinyl. You know,

686
00:35:28,760 --> 00:35:30,159
I have an apartment. I don't have a great like

687
00:35:30,920 --> 00:35:32,800
stats sound set up for it. It's not like i'ea

688
00:35:32,880 --> 00:35:35,400
blasting it through my favorite speakers or anything. So it's

689
00:35:35,440 --> 00:35:39,440
like I see my worst speakers with the highest fidelity

690
00:35:40,559 --> 00:35:44,280
recording I could have, and him and see how that goes.

691
00:35:44,800 --> 00:35:47,760
Speaker 1: Yeah, we don't even have Jenny and I don't even

692
00:35:47,840 --> 00:35:50,559
have a CD player at home. We have one here,

693
00:35:51,639 --> 00:35:53,719
but I think the only one who ever uses it

694
00:35:54,159 --> 00:35:55,400
to the best of my knowledge. I don't know if

695
00:35:55,440 --> 00:35:57,239
you know Rob as a veto. He also show here

696
00:35:57,280 --> 00:35:59,039
called Grand Estate of Mind Fridays at six.

697
00:35:59,480 --> 00:36:02,480
Speaker 2: I don't I haven't met him, but I've I've watched.

698
00:36:02,880 --> 00:36:04,480
I've had some friends go on his show before.

699
00:36:04,599 --> 00:36:07,199
Speaker 1: Okay. Yeah, and he also owns Pembroke City Limits, which

700
00:36:07,199 --> 00:36:10,440
everybody yeah, yeah, yeah, so Rob actually will bring in

701
00:36:10,559 --> 00:36:12,920
CDs and and he so I know this. I know

702
00:36:13,039 --> 00:36:15,880
it works, but I've never I've never used it. But

703
00:36:16,320 --> 00:36:18,280
but no, but people give us CDs and you know,

704
00:36:18,320 --> 00:36:21,639
and it's nice to have them and and whatnot. But yeah,

705
00:36:21,719 --> 00:36:24,400
but we have nothing at home to play the mine.

706
00:36:24,440 --> 00:36:28,599
But but it's but it's nice to have them. I

707
00:36:28,760 --> 00:36:31,039
was curious this occurred to me as you were playing

708
00:36:31,079 --> 00:36:33,199
that song that was called bones.

709
00:36:33,880 --> 00:36:36,360
Speaker 2: The inn oh, the end with two ends, at least

710
00:36:36,400 --> 00:36:37,760
two ends. You can use more if you want.

711
00:36:37,840 --> 00:36:38,599
Speaker 1: Where did I get bones?

712
00:36:38,679 --> 00:36:40,119
Speaker 2: I do say bones a lot in a song.

713
00:36:40,280 --> 00:36:43,400
Speaker 1: That's why. Okay, do you say the ends on the

714
00:36:43,480 --> 00:36:43,920
song at all?

715
00:36:44,360 --> 00:36:47,559
Speaker 2: I say the in a couple of times, but once

716
00:36:47,639 --> 00:36:49,559
it's with one end. Once it's with two ends.

717
00:36:49,440 --> 00:36:50,559
Speaker 1: So right, so it's different.

718
00:36:50,639 --> 00:36:52,800
Speaker 2: There's a total three ends across the ends.

719
00:36:52,920 --> 00:36:57,239
Speaker 1: But I got to I was curious what goes into

720
00:36:57,320 --> 00:36:59,599
your decision when you when you write a song, whether

721
00:36:59,679 --> 00:37:03,719
it's something you should keep for yourself or something maybe

722
00:37:03,760 --> 00:37:06,079
to use for Sunset Electric like you kind of have

723
00:37:06,199 --> 00:37:08,119
some criteria in your mind or is it just a

724
00:37:08,360 --> 00:37:08,880
vibe thing?

725
00:37:09,000 --> 00:37:13,239
Speaker 2: Yeah, I mean sometimes I largely that last bit. Sometimes

726
00:37:13,280 --> 00:37:15,559
I do go about writing a song, and I haven't

727
00:37:16,440 --> 00:37:18,199
with the band in mind, and I'll write it and

728
00:37:18,320 --> 00:37:20,239
you know, the thing about what they're probably going to

729
00:37:20,280 --> 00:37:22,079
come up with for their parts or how they'll react.

730
00:37:22,159 --> 00:37:25,599
But yeah, what I've been doing. I'll backtrack a little.

731
00:37:25,639 --> 00:37:30,039
So on the record we put out last year, Graffiti Hearts,

732
00:37:31,639 --> 00:37:35,039
the majority of those songs I had written ahead of times,

733
00:37:35,119 --> 00:37:38,079
some like years prior, so a lot of that was

734
00:37:38,239 --> 00:37:40,880
me bringing completed songs to the band and then you know,

735
00:37:41,480 --> 00:37:43,840
making some small adjustments. But sometimes its a bit of

736
00:37:43,880 --> 00:37:46,440
a jerk about this needs to stay like it is.

737
00:37:46,599 --> 00:37:50,199
And yeah, so since you know those that album was

738
00:37:50,280 --> 00:37:54,079
put out, everything I've done with the band, you know,

739
00:37:54,280 --> 00:37:59,920
I've tried to bring them the songs before they're you know, completed.

740
00:38:00,039 --> 00:38:01,960
You know, here's a verse and of course here's you

741
00:38:02,000 --> 00:38:04,440
know how far I got on day one of writing,

742
00:38:04,559 --> 00:38:06,960
like with a spark, and then I'll bring it into

743
00:38:07,000 --> 00:38:08,760
practice and be like, what do you guys think of this?

744
00:38:08,840 --> 00:38:11,280
See if it sticks, see if they vibe with it,

745
00:38:11,480 --> 00:38:14,920
and if it doesn't, you know, that's all I need

746
00:38:15,000 --> 00:38:17,360
to know. And other times it's like a softer, gentler

747
00:38:17,440 --> 00:38:20,039
song and it's clearly not going to be the right

748
00:38:20,159 --> 00:38:23,280
vibe for them. So yeah, some mix of the two.

749
00:38:23,360 --> 00:38:25,280
But it's usually apparent when I start writing it if

750
00:38:25,360 --> 00:38:27,840
it will be something they'll like or not.

751
00:38:28,360 --> 00:38:33,440
Speaker 1: Yeah, now do you have I mean obviously so you

752
00:38:33,519 --> 00:38:35,199
went what was it fifteen tracks on this?

753
00:38:35,920 --> 00:38:39,079
Speaker 2: Yeah, a few too many, fifteen five or rereleased, so

754
00:38:39,079 --> 00:38:40,679
I'll call it like I see it as like a

755
00:38:40,719 --> 00:38:43,639
grouping of ten like an album and then extras.

756
00:38:44,039 --> 00:38:46,159
Speaker 1: Yeah. Do you have even more that you recorded that

757
00:38:46,199 --> 00:38:48,039
you decided to leave out or maybe use on a

758
00:38:48,079 --> 00:38:48,760
future release?

759
00:38:49,920 --> 00:38:53,400
Speaker 2: I have many more that I have, you know, another

760
00:38:53,639 --> 00:38:57,519
twenty songs. I considered that that I were old songs

761
00:38:57,559 --> 00:39:01,920
that I considered putting on this, But we'll see. You

762
00:39:01,960 --> 00:39:06,199
know there there's another problems with Catholicism song that I

763
00:39:06,280 --> 00:39:08,480
was like, those would go well together. I'm like, maybe

764
00:39:08,519 --> 00:39:10,920
I'll spread it out and just make sure that notion stays,

765
00:39:13,360 --> 00:39:15,039
you know something talk about it holidays.

766
00:39:15,800 --> 00:39:17,519
Speaker 1: Was it hard to kind of because you have so

767
00:39:17,599 --> 00:39:19,159
many songs? Was it hard to kind of pare it

768
00:39:19,239 --> 00:39:21,119
down and make those? Were those hard to stay?

769
00:39:21,559 --> 00:39:24,719
Speaker 2: So the it was less sad and more I wanted

770
00:39:24,760 --> 00:39:26,599
this to be a quick thing. Yeah, not end up

771
00:39:26,599 --> 00:39:29,119
being a quick thing because I couldn't. I kept being like,

772
00:39:29,159 --> 00:39:31,519
oh well, this song, I half wrote, you know, maybe

773
00:39:31,559 --> 00:39:33,119
I could just finish that and put it on like,

774
00:39:33,159 --> 00:39:35,400
I'm not gonna the band. It doesn't fit the band.

775
00:39:35,480 --> 00:39:39,320
Maybe I'll just and then just you know, because I

776
00:39:39,360 --> 00:39:40,679
was doing it alone, there was no one to tell

777
00:39:40,719 --> 00:39:44,159
me no, yeah, or stop, or you have enough songs

778
00:39:44,519 --> 00:39:47,800
or you don't need to record the sixteen layers on

779
00:39:47,920 --> 00:39:50,280
that song, I'm like, yeah, but I want to play

780
00:39:50,320 --> 00:39:51,840
the banjo. Who's going to stop me?

781
00:39:52,000 --> 00:39:52,039
Speaker 6: Me?

782
00:39:52,280 --> 00:39:54,320
Speaker 2: No, right, I want to play the banjo. I want

783
00:39:54,360 --> 00:39:55,800
to play the mandolin. I'm going to do them.

784
00:39:56,000 --> 00:39:59,079
Speaker 1: Yeah, yeah, so you play both. There's both banjo and mandolin,

785
00:39:59,159 --> 00:39:59,480
that's all.

786
00:39:59,480 --> 00:40:01,719
Speaker 2: You know, as well well as I played all of

787
00:40:01,800 --> 00:40:04,599
that on the album. I mean each is only on

788
00:40:04,760 --> 00:40:10,440
one song. I do play those. I mean I think

789
00:40:10,480 --> 00:40:15,440
my cousin Josiah put it that there's a genre he'd

790
00:40:15,480 --> 00:40:19,679
call it of a guitar players who pick up a banjo. Yeah,

791
00:40:20,199 --> 00:40:23,079
and that's very much what I am. I'm not a

792
00:40:23,440 --> 00:40:26,760
I don't do the claw hammer the proper things. Mandolin.

793
00:40:26,800 --> 00:40:29,440
I'm probably closer to doing it properly because it's the

794
00:40:29,559 --> 00:40:33,320
same motions as far as the pick goes, different tuning

795
00:40:33,400 --> 00:40:36,519
and such. But I like to dabble. I'm definitely better

796
00:40:36,599 --> 00:40:39,639
at guitar than those, but I get to play guitar

797
00:40:39,800 --> 00:40:42,679
out and every now and then I'll get a get

798
00:40:42,760 --> 00:40:44,920
the notion to like, oh, if I practiced mandolin, maybe

799
00:40:44,920 --> 00:40:46,920
I'll bring it to my show today and do some

800
00:40:47,039 --> 00:40:50,320
songs on mandolin. But I'm always like, I'll wait, tell

801
00:40:50,400 --> 00:40:53,800
him doing a duo thing at some point and mess

802
00:40:53,840 --> 00:40:55,400
around with it then. But I liked the excuse to

803
00:40:55,559 --> 00:40:57,360
play with different instruments.

804
00:40:56,920 --> 00:40:59,760
Speaker 1: And just you know, I've never even picked up a

805
00:40:59,800 --> 00:41:00,679
man is it?

806
00:41:01,119 --> 00:41:02,280
Speaker 2: They're not heavy? You could do it?

807
00:41:02,599 --> 00:41:04,760
Speaker 1: I well, I hope, So I don't know the web

808
00:41:04,840 --> 00:41:06,920
and coffin I might. I don't know, I might not

809
00:41:07,000 --> 00:41:07,559
have the strength.

810
00:41:09,000 --> 00:41:09,159
Speaker 9: Is it?

811
00:41:10,079 --> 00:41:12,440
Speaker 1: Is it drastically different in terms of I mean, I

812
00:41:12,559 --> 00:41:15,800
assume if you're a guitar player, you're ahead of the game, right,

813
00:41:16,320 --> 00:41:19,519
But is it like how challenging is it to pick

814
00:41:19,599 --> 00:41:21,280
up a not to pick up a mandolin?

815
00:41:21,320 --> 00:41:27,559
Speaker 2: But semantics, well, I think from going from guitar to mandolin,

816
00:41:27,639 --> 00:41:30,880
the easiest part is the fact that your strumming hand

817
00:41:31,000 --> 00:41:35,599
is yeah, very familiar. So yeah, it's getting used to

818
00:41:35,920 --> 00:41:38,880
tiny frets that you have to like it punt your

819
00:41:38,920 --> 00:41:42,360
fingers on, and also just retraining your brain because our

820
00:41:42,400 --> 00:41:46,880
guitar is tuned in force mostly and mandolin's violence whatever,

821
00:41:46,880 --> 00:41:50,800
they're all tuned in fists. Yeah, so you just had

822
00:41:50,840 --> 00:41:52,400
to be like, oh, yeah, the notes not where I'm

823
00:41:52,599 --> 00:41:54,119
not where I think it's going to be, and just

824
00:41:54,480 --> 00:41:58,199
you know, learn the shapes and patterns and your scales.

825
00:41:57,840 --> 00:42:02,400
Speaker 1: And yeah, interesting, and you're fine. How many strings on

826
00:42:02,480 --> 00:42:02,800
a man.

827
00:42:02,719 --> 00:42:06,199
Speaker 2: To win eight? Well it's four, but they're doubled like

828
00:42:06,239 --> 00:42:06,960
a twelve string guitar.

829
00:42:07,280 --> 00:42:10,559
Speaker 1: Oh I got ya? Okay, okay. And what about the banjo?

830
00:42:10,880 --> 00:42:15,599
I've heard I've heard people say that banjo isn't as

831
00:42:15,679 --> 00:42:19,159
difficult to learn as one might think. But then again,

832
00:42:19,239 --> 00:42:21,880
all the people i've heard say that are really good

833
00:42:21,920 --> 00:42:23,119
at playing the banjo.

834
00:42:23,880 --> 00:42:28,920
Speaker 2: So uh, not being a proficient banjo player, I'll put

835
00:42:28,960 --> 00:42:31,559
it here. You can coming as a guitar player especially,

836
00:42:31,599 --> 00:42:34,119
you can come and you can make decent sounds on

837
00:42:34,239 --> 00:42:36,840
a banjo, and you can play it and make noise.

838
00:42:36,880 --> 00:42:39,039
A lot of it's tuned. E sees me much like

839
00:42:39,079 --> 00:42:42,000
a guitar, except with a very high string on the

840
00:42:42,079 --> 00:42:44,719
wrong side, which you get used to. But if you're

841
00:42:44,760 --> 00:42:47,360
playing banjo, like a banjo player would like a blue

842
00:42:47,440 --> 00:42:51,719
grass player or traditional player would. I think that requires

843
00:42:51,760 --> 00:42:53,920
a high level skill. I think, you know, blue brass

844
00:42:53,960 --> 00:42:56,880
players are some of the most talented musicians there are.

845
00:42:57,039 --> 00:42:57,440
Speaker 1: I agree.

846
00:42:57,480 --> 00:42:59,800
Speaker 2: Yeah, you just have a focus and you just shred

847
00:42:59,880 --> 00:43:02,000
on it. There's no drums to guide you all just

848
00:43:02,119 --> 00:43:06,039
have to lock in together and you know, yeah, they

849
00:43:06,159 --> 00:43:10,039
go crazy. So I think that's a high level in

850
00:43:10,119 --> 00:43:11,920
my mind, is a high level of talent. I'm always

851
00:43:11,960 --> 00:43:15,880
impressed by good uh banjo players. My friend Ross plays

852
00:43:16,039 --> 00:43:17,079
the banjo very well.

853
00:43:17,519 --> 00:43:21,079
Speaker 1: Yeah, yeah, I'm a y It's aw.

854
00:43:21,119 --> 00:43:23,000
Speaker 2: It's always it's always fun to see someone playing. You're

855
00:43:23,000 --> 00:43:24,119
just like wow, there's like.

856
00:43:24,599 --> 00:43:30,400
Speaker 1: Yeah, yeah, I'm always impressed by that. Yeah. Absolutely, Or

857
00:43:30,440 --> 00:43:33,639
even just being able to fingerpick just you know, just generally.

858
00:43:33,679 --> 00:43:36,239
I mean because I you know, I'm a bass player

859
00:43:36,320 --> 00:43:38,960
and I play with a pick most of the time.

860
00:43:39,159 --> 00:43:40,440
Even when even playing bass, I.

861
00:43:40,400 --> 00:43:43,920
Speaker 2: Don't have to tell anyone that it's okay, I use it.

862
00:43:44,079 --> 00:43:47,519
Speaker 1: Everyone already knows. Paul McCartney does it.

863
00:43:47,599 --> 00:43:49,559
Speaker 2: So I used to pick on the bass too. I've

864
00:43:49,960 --> 00:43:53,360
played bass in the bands before and on this record,

865
00:43:53,400 --> 00:43:56,039
I've played a lot of bass obviously, but uh, yeah,

866
00:43:56,039 --> 00:43:57,400
I use a pick it's easier.

867
00:43:57,639 --> 00:43:57,880
Speaker 1: Yeah.

868
00:43:58,039 --> 00:44:00,519
Speaker 2: Yeah, there was one track I actually I went to

869
00:44:00,639 --> 00:44:04,760
the and you know, use my fingers because it's I

870
00:44:04,840 --> 00:44:06,599
wanted it to be an upright bass, but I didn't

871
00:44:06,639 --> 00:44:09,719
have an upright bass. It was too impatient to ask

872
00:44:09,800 --> 00:44:12,440
someone else to play it or to go and borrow

873
00:44:12,519 --> 00:44:14,480
one and get used to it. I'm like, I'm just

874
00:44:14,599 --> 00:44:18,000
gonna roll my tone knobs back and use my fingers

875
00:44:18,079 --> 00:44:18,840
and it will be fine.

876
00:44:19,119 --> 00:44:20,880
Speaker 1: There you go, There you go. That's something I've never

877
00:44:20,960 --> 00:44:22,559
done either. I've never played an upright bass.

878
00:44:24,119 --> 00:44:25,719
Speaker 2: Bucket lists Matt bucket list.

879
00:44:25,760 --> 00:44:28,480
Speaker 1: No know, it looks it just looks so awkward to me.

880
00:44:28,679 --> 00:44:30,280
Speaker 2: Yeah, that one's a little harder to pick up.

881
00:44:30,840 --> 00:44:31,039
Speaker 6: Yeah.

882
00:44:31,199 --> 00:44:37,199
Speaker 1: Physically, yeah, it's heavy, it goes, it's big. Oh interesting,

883
00:44:39,400 --> 00:44:42,159
So you so all that? So you do all the

884
00:44:42,199 --> 00:44:44,599
guitar and the mandolin and the banjo on the album.

885
00:44:44,360 --> 00:44:49,039
Speaker 2: And for the most part, I did have a Justin Feife,

886
00:44:50,280 --> 00:44:55,639
who's my dear bandmate he on the Sunset Electric song,

887
00:44:55,719 --> 00:44:58,079
to have him come in and like do acoustic versions

888
00:44:58,119 --> 00:45:01,559
of his parts. Just I was like, you already know this, Like, let's.

889
00:45:02,079 --> 00:45:02,599
Speaker 1: Do the thing.

890
00:45:03,000 --> 00:45:07,199
Speaker 2: Yea but yeah, I you know, I like being in

891
00:45:07,280 --> 00:45:11,800
my tower song and just recording all the little bits,

892
00:45:11,840 --> 00:45:13,639
and I could use a little thing here. I record

893
00:45:13,679 --> 00:45:16,079
a lot more tracks than I use And maybe maybe

894
00:45:16,119 --> 00:45:18,880
I did too much here. Maybe I need to calm

895
00:45:18,960 --> 00:45:19,559
down a little.

896
00:45:20,559 --> 00:45:23,159
Speaker 1: And is the only other vocalist Cassidy Is she the

897
00:45:23,199 --> 00:45:23,679
only other one.

898
00:45:23,920 --> 00:45:30,360
Speaker 2: Justin Fife also also sang on that. I think it's

899
00:45:30,440 --> 00:45:32,440
just the two of them. Oh no, Justin McInnis also

900
00:45:32,559 --> 00:45:34,519
did a few vocals. I had a lot on the

901
00:45:34,559 --> 00:45:36,440
back of the album and on band camp. It's very

902
00:45:36,440 --> 00:45:39,960
specific about who did what on what song. But a

903
00:45:40,039 --> 00:45:41,079
lot of songs are just me.

904
00:45:44,000 --> 00:45:47,039
Speaker 1: All these songs on the album. Are these all songs

905
00:45:47,079 --> 00:45:48,920
that you play live actively or.

906
00:45:50,480 --> 00:45:55,199
Speaker 2: Just about There's there's one song that I haven't done

907
00:45:55,360 --> 00:45:58,000
live yet, which is called so It Goes, and it's

908
00:45:59,119 --> 00:46:00,320
you know, I wrote this is this going on?

909
00:46:01,199 --> 00:46:02,679
Speaker 1: Oh I can turn it back up? Yeah?

910
00:46:02,760 --> 00:46:06,000
Speaker 2: Absolutely, just just because it's I wrote the song originally

911
00:46:06,039 --> 00:46:07,639
intending it to be for the band, because I just

912
00:46:07,719 --> 00:46:10,079
had this fun like it was like a bass or

913
00:46:10,079 --> 00:46:10,639
if I had like.

914
00:46:18,880 --> 00:46:19,119
Speaker 6: Like that.

915
00:46:22,559 --> 00:46:24,039
Speaker 2: Whatever, and I was like, oh, that's like a cool

916
00:46:24,079 --> 00:46:26,400
group we sing. I was like and I was like

917
00:46:26,599 --> 00:46:28,639
messing around on the drums and I was like, all right,

918
00:46:29,119 --> 00:46:31,719
this could be a cool thing. But uh, I just

919
00:46:31,840 --> 00:46:34,079
never had that next part that would make sense with

920
00:46:34,199 --> 00:46:36,280
the band. And I picked it up one day and

921
00:46:36,480 --> 00:46:40,320
you know, just start singing the next section and uh.

922
00:46:40,960 --> 00:46:43,679
But anyways, it's just I guess I just need to

923
00:46:43,760 --> 00:46:46,360
practice it. Like it's a little bit of a throwaway song,

924
00:46:46,480 --> 00:46:48,679
but I like listening to recording. It makes me happy.

925
00:46:48,800 --> 00:46:54,719
Speaker 1: But yeah, yeah, I try to keep moving.

926
00:46:56,320 --> 00:46:58,760
Speaker 2: And like it has this whole like kind of melancholy

927
00:46:58,920 --> 00:47:00,719
feel to it as it goes and you know, yeah,

928
00:47:00,800 --> 00:47:03,079
it's one of my many songs about you know, mental

929
00:47:03,159 --> 00:47:06,079
health and you know, just being a mess in general.

930
00:47:06,239 --> 00:47:06,719
Speaker 7: But uh.

931
00:47:08,960 --> 00:47:10,880
Speaker 2: But that's the only one I haven't really done live,

932
00:47:10,920 --> 00:47:13,639
which I could probably practice and get there, but I've

933
00:47:13,719 --> 00:47:16,320
just never had the like, this isn't the one I

934
00:47:16,400 --> 00:47:18,159
want to show off really necessarily.

935
00:47:18,440 --> 00:47:23,079
Speaker 1: Yeah, yeah, like I like it for me, but right, no,

936
00:47:23,639 --> 00:47:25,559
that is a I do like that riff. It's got

937
00:47:25,599 --> 00:47:29,440
a nice groof to it. Yeah. Well, the time goes quickly.

938
00:47:29,480 --> 00:47:31,480
We are already approaching the top of the hour, so

939
00:47:31,639 --> 00:47:33,079
I want to make sure we get one more studio

940
00:47:33,159 --> 00:47:36,559
track I'm sure. But before we do that, so what

941
00:47:36,679 --> 00:47:38,440
do people need to know about where to keep up

942
00:47:38,480 --> 00:47:41,679
with everything that you're doing and the band too, Sunset Electric.

943
00:47:41,639 --> 00:47:46,039
Speaker 2: Yeah sure, So all all my social media's under Quincy

944
00:47:46,119 --> 00:47:50,679
Lord Music. Quincy Lord Music. Quincy Lord was my name,

945
00:47:50,719 --> 00:47:55,440
in case you missed that. Yeah, Sunset Electric Band is

946
00:47:55,440 --> 00:47:58,199
where you can find all the band stuff. I post

947
00:47:58,360 --> 00:48:02,360
most on Facebook because I resent social media in general

948
00:48:02,400 --> 00:48:07,000
and can't commit to too many of them, and that's

949
00:48:07,039 --> 00:48:09,119
the one that lets me make events. But you can

950
00:48:09,239 --> 00:48:12,280
follow us there. I'm going to be at you were

951
00:48:12,320 --> 00:48:16,239
talking to Eleanor earlier. Oh yes, yes, yes, yes, So

952
00:48:16,320 --> 00:48:18,840
I'm going to be playing at Terminus on Tuesday for

953
00:48:18,920 --> 00:48:20,920
their whole shin dig that's going on.

954
00:48:21,480 --> 00:48:22,880
Speaker 1: Yeah, Jenny and I will be there for that.

955
00:48:23,280 --> 00:48:25,400
Speaker 2: All awesome. Yeah, I look forward to So I'll be

956
00:48:25,400 --> 00:48:28,719
playing a lot of the album live and more awake

957
00:48:29,039 --> 00:48:35,079
than so that will be a good time. Next week

958
00:48:35,199 --> 00:48:36,679
is it now? In two weeks we're going to be

959
00:48:36,760 --> 00:48:40,800
on WMFO with Top Tufts Radio with the.

960
00:48:40,880 --> 00:48:43,199
Speaker 1: Band on the Town with Mikey d Yeah. Yeah, excellent.

961
00:48:43,320 --> 00:48:46,039
Speaker 2: Yeah we went on there in like twenty eighteen or

962
00:48:46,119 --> 00:48:47,920
nineteen or something, so it's been a good while and

963
00:48:48,360 --> 00:48:50,199
Joel just made us sound so good. We had these

964
00:48:50,280 --> 00:48:52,519
out of tune drums and he just he made it

965
00:48:52,559 --> 00:48:55,760
all sound great. Yeah, Tuesday at Terminus today at seven

966
00:48:55,840 --> 00:48:59,039
Saws and Holden and the band. Next band show is

967
00:48:59,079 --> 00:49:02,559
going to be February eighth at Husky's Pub, our favorite

968
00:49:02,599 --> 00:49:03,480
spot in Worcester.

969
00:49:03,840 --> 00:49:08,079
Speaker 1: Okay, okay, very cool, very cool, And we'll we'll end

970
00:49:08,119 --> 00:49:10,840
with steam Town. I guess that's who should we do?

971
00:49:10,960 --> 00:49:12,159
Speaker 2: We have time for me to say a quick thing

972
00:49:12,159 --> 00:49:14,280
about it or oh yeah, go ahead, yeah, absolutely so,

973
00:49:14,440 --> 00:49:17,360
just I'll be quick a quick story with Steamtown. This

974
00:49:17,480 --> 00:49:18,880
is one of the old songs I wrote a long

975
00:49:18,960 --> 00:49:21,599
time ago. Once upon a time. It was me and

976
00:49:22,360 --> 00:49:24,039
I was driving up and down to each I kind

977
00:49:24,039 --> 00:49:26,000
of ran away and was driving up and down the

978
00:49:26,039 --> 00:49:28,000
East coast with a couple of friends, sleeping in my

979
00:49:28,559 --> 00:49:33,400
nineteen ninety six Pontiac rand Am And anyways, it was

980
00:49:33,400 --> 00:49:35,360
written as a letter for me at the time to

981
00:49:35,519 --> 00:49:40,400
this girl I cared about because I was I kind

982
00:49:40,440 --> 00:49:44,599
of ran away and I was like, hey, I miss you.

983
00:49:44,719 --> 00:49:47,440
I wish you wanted to come with us. She didn't,

984
00:49:47,519 --> 00:49:49,960
and like, you know, just knowing it was kind of

985
00:49:50,000 --> 00:49:51,519
saying like I miss you and I wish you were here,

986
00:49:51,599 --> 00:49:52,960
but also I'm going to go do what I want.

987
00:49:53,039 --> 00:49:54,639
So it's kind of me being a jerk with it.

988
00:49:54,719 --> 00:49:57,519
It seems a little sweet. And at the beginning the

989
00:49:57,559 --> 00:50:00,519
song says, dear Simba, because it's a it was written

990
00:50:00,519 --> 00:50:03,440
as a letter to her. Okay, okay, a very long

991
00:50:03,519 --> 00:50:06,639
time ago. Sima's a dear friend whom's Eleanor might have

992
00:50:06,719 --> 00:50:07,519
mentioned she helps out.

993
00:50:07,559 --> 00:50:10,320
Speaker 1: I was gonna say that name came up earlier. Yeah, yeah, interesting,

994
00:50:10,880 --> 00:50:11,719
such a small world.

995
00:50:11,800 --> 00:50:13,639
Speaker 2: Yeah, Simba is how they wrote me into going and

996
00:50:13,719 --> 00:50:14,400
playing Tuesday.

997
00:50:15,559 --> 00:50:19,360
Speaker 1: Gotcha? I gotcha? All right? Very cool, very cool. Well,

998
00:50:19,400 --> 00:50:21,679
thank you so much, Quincy lord. This has been wonderful.

999
00:50:21,800 --> 00:50:22,440
Speaker 2: Thank you for having me.

1000
00:50:22,639 --> 00:50:24,599
Speaker 1: We will leave you with this. This is called Steamtown

1001
00:50:24,679 --> 00:50:26,559
from the new album A Bright Future.

1002
00:50:50,599 --> 00:50:51,440
Speaker 4: Undercent.

1003
00:50:52,400 --> 00:50:57,400
Speaker 6: We need to Galloway. I just can't stand that kind

1004
00:50:57,519 --> 00:50:58,480
of lefty.

1005
00:51:00,079 --> 00:51:03,119
Speaker 5: Day they had to a the set.

1006
00:51:03,920 --> 00:51:08,719
Speaker 6: It wasn't meant to happen this way. No, we weren't

1007
00:51:08,760 --> 00:51:09,519
going to leave.

1008
00:51:09,880 --> 00:51:15,320
Speaker 4: There's nothing you could say, and lace seemed tell me

1009
00:51:16,039 --> 00:51:17,599
learn to catch a rag.

1010
00:51:18,679 --> 00:51:22,679
Speaker 9: But the first time we have snaggle sat faces in

1011
00:51:22,880 --> 00:51:28,000
our times they let us fall asleep with the rank

1012
00:51:28,119 --> 00:51:33,119
and broken jars to dream. The bout lady left.

1013
00:51:33,320 --> 00:51:43,920
Speaker 6: You go Brazanna con I'm not sorry that I left,

1014
00:51:44,719 --> 00:51:45,079
but it.

1015
00:51:45,199 --> 00:51:49,239
Speaker 2: Was you couldn't come though you want one.

1016
00:51:49,320 --> 00:51:54,159
Speaker 5: Went below sup crowned around the sun when they're trying

1017
00:51:54,239 --> 00:51:58,599
to take me anywhere on the side shop.

1018
00:51:58,599 --> 00:52:04,320
Speaker 9: A gun, you know, really do life on the run

1019
00:52:06,159 --> 00:52:11,800
face same time we learn to catch riding away from

1020
00:52:12,039 --> 00:52:15,880
moon on fasis, that is the places we despise.

1021
00:52:16,800 --> 00:52:20,559
Speaker 6: The tracks were off creating we have history.

1022
00:52:20,800 --> 00:52:26,199
Speaker 11: At night we can only follow on, so we d

1023
00:52:27,360 --> 00:53:00,280
let asday.

1024
00:53:00,719 --> 00:53:05,719
Speaker 9: Same time we learned to catch run the first time

1025
00:53:05,840 --> 00:53:09,159
we fell, smiles on our faces.

1026
00:53:08,880 --> 00:53:09,800
Speaker 6: And our lives.

1027
00:53:10,559 --> 00:53:16,079
Speaker 9: We by le ballancely with our lanterns lit by starts

1028
00:53:16,599 --> 00:53:21,519
to dream about Alaga left, a girlfriends and a cause.

1029
00:53:26,559 --> 00:53:28,920
Speaker 4: We learned to cash or eye.

1030
00:53:34,199 --> 00:53:36,119
Speaker 2: Sis Calena.

1031
00:53:37,159 --> 00:53:41,639
Speaker 4: The song I could let If we ever meet again,

1032
00:53:42,280 --> 00:53:43,639
go to walt you