1 00:00:00,120 --> 00:00:02,200 Speaker 1: But we have speaking of music, we've have in the 2 00:00:02,240 --> 00:00:05,200 studio right now. The band a lot of Corvette and 3 00:00:05,280 --> 00:00:07,719 one of these guys, Huey the Gecko, has been here. 4 00:00:07,759 --> 00:00:10,279 You've been here a number of times? How many times 5 00:00:10,320 --> 00:00:11,880 you've been on the show? Are you in the five 6 00:00:11,919 --> 00:00:13,839 Timers club at this point on the show? 7 00:00:13,960 --> 00:00:14,960 Speaker 2: I think this might be four? 8 00:00:15,960 --> 00:00:16,519 Speaker 3: Is this four? 9 00:00:17,079 --> 00:00:19,160 Speaker 2: I think we might be edging on the five club? 10 00:00:19,359 --> 00:00:22,359 Speaker 1: Yeah? Yeah, okay, all right, so this is this is 11 00:00:22,440 --> 00:00:25,480 four and uh, but this is the first time with 12 00:00:25,559 --> 00:00:28,199 this band. And I'll let you, I'll let you introduce 13 00:00:28,280 --> 00:00:30,640 your your bandmates here and well guess. 14 00:00:30,480 --> 00:00:32,399 Speaker 2: The common theme is for right, So this is our 15 00:00:32,439 --> 00:00:35,960 four appearance here. We're a four piece band and we're 16 00:00:36,000 --> 00:00:41,359 four piece man. Uh, let's see, we're New Hampshire, Indy 17 00:00:41,920 --> 00:00:47,759 right now. That's our genre and yeah, our our our 18 00:00:48,640 --> 00:00:52,039 music began as an instrumental I joined the group and 19 00:00:52,119 --> 00:00:55,520 so it was like a corvette. It was hurtling down 20 00:00:55,560 --> 00:00:57,759 the highway and and I hopped on in it. And 21 00:00:57,759 --> 00:01:01,159 then I said, well, what better name? Then? Then let's 22 00:01:01,280 --> 00:01:04,280 let's go with a Lona Corvette. So yes, uh, and 23 00:01:05,079 --> 00:01:07,560 so that was kind of a mind a little bit 24 00:01:07,599 --> 00:01:09,599 of a we had we had a different band name, 25 00:01:09,640 --> 00:01:13,599 but it was it was like it was taken. Uh, 26 00:01:13,640 --> 00:01:17,319 it wasn't able to be like, we couldn't we couldn't 27 00:01:17,400 --> 00:01:20,400 use it in terms of marketing or distributing, et cetera. 28 00:01:20,560 --> 00:01:22,920 Speaker 3: Oh, I'm super I'm super curious. Now what was the name? 29 00:01:23,599 --> 00:01:26,000 Speaker 2: We were going to be the Soggies. Okay, and there 30 00:01:26,000 --> 00:01:28,359 happens to be a few bands that are already operating 31 00:01:28,439 --> 00:01:28,799 under that. 32 00:01:29,120 --> 00:01:29,359 Speaker 1: Yes. 33 00:01:29,680 --> 00:01:32,920 Speaker 2: Yeah. So so the I don't want to say had 34 00:01:32,959 --> 00:01:35,840 more originality the A lot of Corvette thing, but it's 35 00:01:36,239 --> 00:01:40,319 it was available. Yeah, okay, so that makes sense. So 36 00:01:41,280 --> 00:01:43,719 originally we I didn't without a tea because I thought 37 00:01:43,719 --> 00:01:46,560 the Corvette was a brand, but I realized it's the 38 00:01:46,599 --> 00:01:49,239 warship thing. I didn't realize there was the military thing. 39 00:01:49,400 --> 00:01:52,840 Oh okay, So the Corvette's actually not trademarked, and neither 40 00:01:52,879 --> 00:01:53,640 is the word Alana. 41 00:01:53,920 --> 00:01:54,400 Speaker 4: Ah. 42 00:01:54,599 --> 00:01:56,799 Speaker 2: Yes, so we were free and clear after that. 43 00:01:57,040 --> 00:01:59,519 Speaker 1: So and uh, yeah, the odds seem low that you're 44 00:01:59,519 --> 00:02:01,840 gonna run in a problem with the name Alana Corvette. 45 00:02:02,040 --> 00:02:04,959 Speaker 3: Yeah, you're probably good. You're probably good. 46 00:02:05,159 --> 00:02:06,840 Speaker 2: And that was all it took. Really, So once we 47 00:02:06,920 --> 00:02:09,120 had the like I said, the four piece band, the 48 00:02:09,159 --> 00:02:11,360 Love and Piece music. So we got the right direction, 49 00:02:11,439 --> 00:02:14,280 the right message. Uh, we kind of just jammed and 50 00:02:14,800 --> 00:02:17,520 the jams have been coming together in different ways. One 51 00:02:17,560 --> 00:02:19,000 of them that you're here today, has a little bit 52 00:02:19,000 --> 00:02:21,479 more of a Latin feel. One of them is a 53 00:02:21,479 --> 00:02:24,919 little bit prog rocky, but we're doing the acoustic version 54 00:02:24,960 --> 00:02:30,280 of it. So we have a variety of different genres. 55 00:02:30,319 --> 00:02:32,159 But we pretty much just call it in New Hampshire, 56 00:02:32,159 --> 00:02:34,919 Indie because right now we're just a we're an independent 57 00:02:35,039 --> 00:02:36,400 rock band doing the thing. 58 00:02:37,120 --> 00:02:39,680 Speaker 1: All right, and uh, let's uh, let's hear from your 59 00:02:39,840 --> 00:02:42,199 your cohorts here. Well, you can introduce this Joleman because 60 00:02:42,199 --> 00:02:44,439 he's not on Mike, and then we'll well. 61 00:02:44,280 --> 00:02:46,639 Speaker 2: Mike, my Bassis has been with me and a lot 62 00:02:46,639 --> 00:02:49,080 of other projects. You guys might be familiar with him. 63 00:02:49,080 --> 00:02:50,719 He appeared with me before on the show. 64 00:02:50,800 --> 00:02:53,240 Speaker 1: That's right, I remember that, Yes, so Mike. 65 00:02:53,360 --> 00:02:55,319 Speaker 2: Yeah, Hey, Mike, welcome Steven. 66 00:02:55,560 --> 00:02:59,199 Speaker 5: Yeah, what's up. I'm Steve Colveck, guitar player for a 67 00:02:59,240 --> 00:03:00,759 Lot of Corvette. 68 00:03:01,240 --> 00:03:01,479 Speaker 1: Yeah. 69 00:03:01,599 --> 00:03:04,000 Speaker 5: No, me and Brad kind of we started off the 70 00:03:04,120 --> 00:03:06,840 job with a bunch of originals from our last project. 71 00:03:06,960 --> 00:03:09,280 So okay, kind of fully developing him now with the 72 00:03:09,319 --> 00:03:12,560 full bands and kind of solely building momentum as the 73 00:03:12,599 --> 00:03:13,759 snowball rolls downhill. 74 00:03:13,879 --> 00:03:16,680 Speaker 3: Excellent, excellent. Yeah and you sir. 75 00:03:16,800 --> 00:03:19,680 Speaker 6: Yeah, I'm Brad playing the drums. Excited to be here. 76 00:03:20,159 --> 00:03:22,800 Excited to play an acoustic set too, not something we 77 00:03:22,840 --> 00:03:24,879 do too often. But we've got the cajone and the 78 00:03:24,879 --> 00:03:26,960 bongos here, right, a rock. 79 00:03:26,840 --> 00:03:30,560 Speaker 1: Good creative challenge, yes, yes, outstanding. Well, I'm very curious 80 00:03:30,599 --> 00:03:32,800 to hear you guys play now. We'll have to kind 81 00:03:32,840 --> 00:03:34,680 of we have no way to sound check because we're 82 00:03:34,680 --> 00:03:37,199 already live on the air, but well I'm used to 83 00:03:37,280 --> 00:03:40,400 riding the faders, so but I'm very curious. Oh, Aaron 84 00:03:40,439 --> 00:03:44,280 Billado is in the Facebook live chat and he says, 85 00:03:44,400 --> 00:03:47,639 is that Alna Corvette? It sure is so welcome eron. Yes, 86 00:03:47,680 --> 00:03:49,560 we're just talking about you. Aaron Billadeau. Of course, a 87 00:03:49,639 --> 00:03:51,479 very talented musician. He's been on the show a number 88 00:03:51,520 --> 00:03:55,240 of times. And actually, Huey you and at least once 89 00:03:55,280 --> 00:03:58,039 you and Aaron played together on the show, right, yes, yeah, yeah, yeah, 90 00:03:58,120 --> 00:04:00,879 I remember you guys performing that Doctor Miller Ram song. 91 00:04:01,039 --> 00:04:03,520 Speaker 2: My second air in appearance. Actually might put us at 92 00:04:03,520 --> 00:04:04,199 the five. 93 00:04:04,080 --> 00:04:06,000 Speaker 3: You might be in the five time ers club as 94 00:04:06,039 --> 00:04:06,439 of today. 95 00:04:06,520 --> 00:04:08,319 Speaker 2: I didn't yep, I didn't realize because I've been on 96 00:04:08,360 --> 00:04:09,080 twice with Aaron. 97 00:04:09,080 --> 00:04:11,400 Speaker 1: Now you're right, yeah, yeah, yeah, yeah, there you go, 98 00:04:11,479 --> 00:04:14,520 There you go, and uh oh, and Ricky Mapleton joins 99 00:04:14,599 --> 00:04:17,319 us as well. Hello. All right, I'm dying to hear 100 00:04:17,360 --> 00:04:19,600 you guys play, so I'll turn it over to you 101 00:04:19,759 --> 00:04:21,399 and like I said, i'll ride the faders. 102 00:04:21,439 --> 00:04:23,680 Speaker 3: I'll uh make it sound good. 103 00:04:23,680 --> 00:04:25,560 Speaker 5: But all right, I'm gonna move this to try to 104 00:04:25,600 --> 00:04:26,839 pick up Yeah. 105 00:04:26,879 --> 00:04:28,360 Speaker 3: Yeah, that's a good idea. That's a good idea. 106 00:04:28,680 --> 00:04:32,399 Speaker 2: Searcher first, Yeah, all right, thank you guys. This is 107 00:04:32,480 --> 00:04:34,399 Searcher by Alana Corvette. 108 00:05:00,199 --> 00:05:09,079 Speaker 7: H Searcher, See. 109 00:05:08,920 --> 00:05:12,920 Speaker 8: Gone, try it? 110 00:05:13,000 --> 00:05:13,680 Speaker 2: Why not? 111 00:05:15,399 --> 00:05:24,160 Speaker 9: Life's worth the shock? Search for meaning, search for reason, Believe. 112 00:05:23,800 --> 00:05:27,120 Speaker 7: In the believe in the. 113 00:05:30,680 --> 00:05:43,839 Speaker 9: Meaningless nights. Flock sides. Meaningless nights, belock sides. Search for reason, 114 00:05:45,639 --> 00:05:55,199 Believe in the meaningless night, Believe in the see gone, 115 00:05:55,319 --> 00:06:07,399 seekne searcher, m HM, see God. Search for reason, search 116 00:06:07,480 --> 00:06:23,959 for meaning. Feeling all right, meaningless nights, feel out the sights. 117 00:06:27,639 --> 00:06:31,560 Speaker 2: Meaningless nights feel out the sights. 118 00:07:15,319 --> 00:07:25,319 Speaker 7: See God. 119 00:07:26,759 --> 00:07:30,279 Speaker 9: Searcher, See God Searcher. 120 00:07:32,800 --> 00:07:33,360 Speaker 7: Believe in. 121 00:07:33,480 --> 00:07:39,920 Speaker 9: Then you got a feeling all right, search for meaning, 122 00:07:40,560 --> 00:07:51,519 search for reson, believe in, believe in, see. 123 00:07:51,240 --> 00:07:52,720 Speaker 7: God, searcher. 124 00:07:58,319 --> 00:08:18,639 Speaker 8: Where you meant for this? It was live worth the shot. 125 00:08:04,480 --> 00:08:19,279 Speaker 4: Got very nice, excellent, very nice. 126 00:08:19,519 --> 00:08:21,160 Speaker 1: If you're just joining us, we have a lot of 127 00:08:21,199 --> 00:08:24,120 Corvette here with us, a live in studio on this 128 00:08:24,560 --> 00:08:29,480 Saturday morning. So what's the songwriting process like with you guys? 129 00:08:29,519 --> 00:08:31,439 You all write together or how does that work? 130 00:08:31,680 --> 00:08:34,879 Speaker 5: Yeah, so that's a good question. Actually what we've been 131 00:08:34,879 --> 00:08:36,559 doing for a while. So me and Brad were in 132 00:08:36,600 --> 00:08:38,720 a band for a while. We had some ideas that 133 00:08:38,759 --> 00:08:40,720 were undeveloped and things that we were kind of had 134 00:08:40,759 --> 00:08:44,879 in our back pocket for a while. Yeah, and uh yeah. 135 00:08:44,919 --> 00:08:46,799 So as we got Mike and the band and then 136 00:08:46,840 --> 00:08:48,399 Matt and the band, we said, hey, we got all 137 00:08:48,440 --> 00:08:51,240 these ideas, let's start developing them further. And the way 138 00:08:51,279 --> 00:08:52,879 it'll kind of work is someone will come in with 139 00:08:52,919 --> 00:08:55,679 an idea and then be it like a bassline or 140 00:08:55,720 --> 00:08:58,240 just a guitar riff or something like that, and then 141 00:08:58,440 --> 00:08:59,960 we'll just kind of jam on it and just see 142 00:09:00,279 --> 00:09:03,240 where it goes. And kind of a lot of it 143 00:09:03,320 --> 00:09:05,960 like writes itself almost I think that with music, it's 144 00:09:06,000 --> 00:09:08,080 like if it doesn't right itself in thirty seconds, you're 145 00:09:08,120 --> 00:09:08,960 like forcing it. 146 00:09:09,120 --> 00:09:09,440 Speaker 3: Yeah. 147 00:09:09,519 --> 00:09:12,879 Speaker 1: Yeah, and how did this How did this band come up? 148 00:09:12,879 --> 00:09:15,240 Because I feel like have you all worked together before 149 00:09:15,320 --> 00:09:16,799 in some configuration? 150 00:09:17,000 --> 00:09:20,639 Speaker 2: So the thing that he mentioned there prior Distant Wave 151 00:09:21,159 --> 00:09:24,600 was you Brad and Ryan if I'm not mistaken. 152 00:09:24,279 --> 00:09:25,840 Speaker 5: Yeah, Ryan Martineau from the Whole Loaf. 153 00:09:26,200 --> 00:09:28,639 Speaker 1: Oh okay, yeah, yeah, yeah, we thought on you. 154 00:09:28,919 --> 00:09:31,120 Speaker 2: He'll be We'll be in our show tonight when we 155 00:09:31,159 --> 00:09:34,120 play at Terminus. So very good if funny. How like 156 00:09:34,159 --> 00:09:37,440 you said, musicians travel similar footpaths. Yes, and me and 157 00:09:37,519 --> 00:09:39,440 Mike you've met. We were a package there. 158 00:09:39,639 --> 00:09:40,320 Speaker 1: Yes, we were. 159 00:09:40,159 --> 00:09:44,080 Speaker 2: Working on a project with two other musicians called Temporal Rift. Okay, 160 00:09:44,120 --> 00:09:47,960 and uh, we're working on a dual drummers thing really, 161 00:09:48,039 --> 00:09:52,039 and one of our drummers is learning from the other drummer. Yeah, 162 00:09:52,080 --> 00:09:55,559 so when he gets to that area, we're ready to 163 00:09:55,559 --> 00:09:57,840 pursue that in terms of looking for gigs and stuff 164 00:09:57,879 --> 00:09:59,159 like that. But we're just in a little bit of 165 00:09:59,159 --> 00:10:01,600 a development phase and we wanted to do something where 166 00:10:01,639 --> 00:10:05,879 we could gig and whatnot. So these guys had lost 167 00:10:05,919 --> 00:10:09,080 that third piece and like it was, you know, stepped 168 00:10:09,080 --> 00:10:12,200 in there and he got with them prior to me 169 00:10:12,480 --> 00:10:15,799 joining the group, and they were working on this instrumental 170 00:10:15,840 --> 00:10:19,200 called Space and Paula that they play and I really 171 00:10:19,279 --> 00:10:21,919 liked it. Yeah yeah, and they they sent it to 172 00:10:21,960 --> 00:10:23,720 me and were like, you put some lyrics on it, 173 00:10:23,759 --> 00:10:25,399 and I was like, I did, and they thought it 174 00:10:25,440 --> 00:10:28,120 was not half bad. And that was the beginning of it. 175 00:10:28,639 --> 00:10:30,759 And then we've been doing that kind of the one 176 00:10:30,799 --> 00:10:34,960 we just did just now. Brad's a counter, he's our drummer. 177 00:10:35,320 --> 00:10:38,759 He likes this five to seven song there, so every 178 00:10:38,799 --> 00:10:42,000 now and then it's thirty seconds every now and then, 179 00:10:42,080 --> 00:10:42,440 it's not. 180 00:10:43,360 --> 00:10:48,200 Speaker 5: Both like oh yeah, gotcha and all that stuff. 181 00:10:48,360 --> 00:10:50,639 Speaker 2: Yeah, yeah, that one's a little tricky. 182 00:10:51,759 --> 00:10:54,080 Speaker 1: Now, do you guys have plans to uh? You would 183 00:10:54,080 --> 00:10:55,600 send me a demo, but do you guys have plans 184 00:10:55,639 --> 00:10:56,399 to get into the studio? 185 00:10:56,519 --> 00:11:01,200 Speaker 2: And so yeah, Jim Hurley, I see you. We're gonna 186 00:11:01,200 --> 00:11:04,759 come down to uh Shatterstar Productions as he calls his 187 00:11:05,320 --> 00:11:09,279 uh studio and do the whole sixteen mics instead of 188 00:11:09,320 --> 00:11:11,879 one condenser mic in the corner. Yeah, that'll make it 189 00:11:11,919 --> 00:11:12,720 sound a little better. 190 00:11:13,240 --> 00:11:16,279 Speaker 5: We just have like bad iPhone demos and stuff that 191 00:11:16,360 --> 00:11:19,360 I recorded on like my two interface and into it 192 00:11:19,480 --> 00:11:20,519 like a cheap dog, you know. 193 00:11:20,759 --> 00:11:22,919 Speaker 2: So yeah, I said to him, think about like you're 194 00:11:22,960 --> 00:11:24,879 hearing the clash and like a shady club. 195 00:11:25,000 --> 00:11:27,159 Speaker 1: Oh yeah, yeah, excuse about that. 196 00:11:27,440 --> 00:11:28,039 Speaker 2: I did the thing. 197 00:11:28,159 --> 00:11:30,480 Speaker 1: Yeah, yeah, you did. I caught it. We're on it way, 198 00:11:30,720 --> 00:11:33,360 We're on it away. I caught it, no problem. 199 00:11:33,639 --> 00:11:34,039 Speaker 3: By the way. 200 00:11:34,200 --> 00:11:36,840 Speaker 1: Eleanor is in the Facebook live chat, she says, Ilana 201 00:11:36,919 --> 00:11:41,440 Corvette tonight at Terminus Underground. Yes, yes, we had, uh, 202 00:11:41,480 --> 00:11:44,000 we had Eleanor and spelfe and Andrea on the show 203 00:11:44,000 --> 00:11:46,159 with us a couple of weeks ago talking about all that, 204 00:11:46,240 --> 00:11:48,639 all the goings on there, and and Jenny. We should 205 00:11:48,639 --> 00:11:51,399 mention too. Jenny's art is currently hanging there as well. 206 00:11:51,480 --> 00:11:55,519 Speaker 10: Yes, actually twelve of my pieces are in there. I've 207 00:11:55,679 --> 00:11:58,240 never actually had them all together like that. Actually, I 208 00:11:58,279 --> 00:12:00,000 just did an interview with Spelfey yesterday. 209 00:12:00,200 --> 00:12:01,799 Speaker 1: Yes, yes, so. 210 00:12:01,840 --> 00:12:06,679 Speaker 10: Yeah, you'll see some of my acrylics on camp on Yeah, 211 00:12:06,840 --> 00:12:11,840 acrylics on canvas. They're my darkest pieces actually beautiful. Yeah, 212 00:12:11,879 --> 00:12:15,279 you'll have that mediums that artists invest themselves into. I 213 00:12:15,320 --> 00:12:16,240 can't wait to look at that. 214 00:12:16,720 --> 00:12:18,279 Speaker 5: Looking forward to explore the gallery. 215 00:12:18,360 --> 00:12:19,799 Speaker 3: Yeah, that awesome, thank you. 216 00:12:20,039 --> 00:12:23,080 Speaker 1: And yeah, Aaron also says, sounds great boys, see you 217 00:12:23,120 --> 00:12:24,039 tonight at Terminus. 218 00:12:24,080 --> 00:12:26,080 Speaker 3: Is he performing or is he just kind. 219 00:12:25,840 --> 00:12:28,159 Speaker 2: Of I think he's just going to be there for support. 220 00:12:28,279 --> 00:12:32,399 Speaker 3: Okay, okay, very cool, and uh hello to Charmaine Charmaine 221 00:12:32,480 --> 00:12:34,840 Davis Elliott also in the Facebook live chat. 222 00:12:34,879 --> 00:12:38,240 Speaker 1: Hello, and I just want to make sure I don't 223 00:12:38,240 --> 00:12:39,879 miss anybody. I have more than one chat room to 224 00:12:39,919 --> 00:12:45,159 look at now with the software amusing. But yeah, you 225 00:12:45,159 --> 00:12:46,200 guys want to play another one? 226 00:12:46,600 --> 00:12:46,759 Speaker 8: Yeah? 227 00:12:46,840 --> 00:12:47,360 Speaker 5: Much as well. 228 00:12:47,480 --> 00:12:49,399 Speaker 1: Oh yeah, I see, oh I see, uh I do 229 00:12:49,440 --> 00:12:52,360 see more people now. Andrea Dumont says, what's up kids? 230 00:12:52,399 --> 00:12:56,840 Andrea of course from Terminus and the Midnight Creatives Collective, 231 00:12:56,879 --> 00:12:58,279 and of course from the band. 232 00:12:58,440 --> 00:13:01,879 Speaker 2: Dad Harrison great sound man, he's really good with the sound. 233 00:13:01,960 --> 00:13:06,639 Speaker 1: Oh, absolutely, absolutely. And also Philip McDuffie is in the chat. Hello, 234 00:13:06,799 --> 00:13:12,559 says uh, Phil says good and beep An Art also 235 00:13:12,600 --> 00:13:14,240 in there, another loyal listener. 236 00:13:14,480 --> 00:13:17,039 Speaker 3: But uh, yeah, what do you guys? Uh you want 237 00:13:17,039 --> 00:13:17,720 to play another one? 238 00:13:17,919 --> 00:13:19,720 Speaker 5: Yeah, let's do it. You got another one for you? 239 00:13:19,840 --> 00:13:23,919 Speaker 1: Yeah, and if. 240 00:13:23,759 --> 00:13:25,799 Speaker 2: You're in San Diego, where in the world is the 241 00:13:25,879 --> 00:13:26,799 Lana Corvette. 242 00:13:27,639 --> 00:13:31,000 Speaker 1: Yes, if you are just joining us, A lot of 243 00:13:31,000 --> 00:13:32,159 corvette is with us. 244 00:13:32,399 --> 00:13:33,519 Speaker 3: They're right here at W. 245 00:13:33,799 --> 00:13:36,399 Speaker 1: M and H Live in studio. 246 00:13:51,919 --> 00:13:56,519 Speaker 9: She's a queen of scorn, scorching the ground around us 247 00:13:56,519 --> 00:14:04,399 with beer, leaving the whole world tourn She's got an 248 00:14:04,440 --> 00:14:10,879 avoidable fixture and a poisonous mixture called life. She's queen 249 00:14:10,919 --> 00:14:16,159 of scorn, leaving the whole world torn. She's a queen, 250 00:14:16,200 --> 00:14:18,600 but there ain't no thrown. She's sing with the vibe. 251 00:14:18,639 --> 00:14:22,039 She's been thrown. She's a queen, but there ain't no thrown. 252 00:14:29,360 --> 00:14:34,120 Speaker 2: Reverse engineer, get out of here. King of feeding. 253 00:14:33,759 --> 00:14:47,679 Speaker 9: Flames, sign of air, say I'm getting there where. She's 254 00:14:47,679 --> 00:14:50,720 a queen of scorn, leaving the whole world torn. 255 00:15:00,679 --> 00:15:03,080 Speaker 11: She's a cream, but there ain't no thrown. She's still 256 00:15:03,120 --> 00:15:06,159 with those dots. She's been thrown. She's a cream, but 257 00:15:06,279 --> 00:15:47,240 there rain no thrown. She's a green, but there rain' 258 00:15:47,320 --> 00:15:50,159 no throwed. She's stealing with those hearts. She's been thrown. 259 00:15:51,440 --> 00:15:55,639 Scream with the rain no throat. 260 00:16:00,120 --> 00:16:04,279 Speaker 1: Very nice, very nice. We have a lot of corvette 261 00:16:04,279 --> 00:16:08,720 here with us, live in studio this morning. Yes, yes, 262 00:16:09,279 --> 00:16:10,159 and uh are. 263 00:16:10,000 --> 00:16:11,440 Speaker 3: You guys playing a lot of shows. Are you doing 264 00:16:11,480 --> 00:16:12,240 a lot out there? 265 00:16:12,320 --> 00:16:15,759 Speaker 5: Or this is our first gig tonight? Actually this is it. 266 00:16:15,840 --> 00:16:17,679 This is the debut man. 267 00:16:17,600 --> 00:16:21,120 Speaker 1: Oh wow, wonderful, the world premiere of a Lot of Corvette. 268 00:16:21,120 --> 00:16:22,159 Speaker 3: I love it. I love it. 269 00:16:24,240 --> 00:16:27,279 Speaker 1: And now do you guys all well, actually, Hue, let 270 00:16:27,320 --> 00:16:29,519 me ask you first, because you've you've always got your uh, 271 00:16:29,559 --> 00:16:31,240 you've always got a lot going on. I mean, do 272 00:16:31,240 --> 00:16:33,879 you have other projects that you're that you're doing uh 273 00:16:34,039 --> 00:16:35,080 as well right now? 274 00:16:35,200 --> 00:16:36,480 Speaker 3: Or are you just kind of focused on a lot 275 00:16:36,480 --> 00:16:37,039 of Corvette. 276 00:16:37,200 --> 00:16:40,080 Speaker 2: It's funny. I appreciate you saying. I kind of feel like, 277 00:16:40,519 --> 00:16:42,440 you know, uh, how do you say that? It's like 278 00:16:42,480 --> 00:16:44,679 when somebody says how you're doing? You stay busy, right, 279 00:16:44,759 --> 00:16:46,480 but they just asked how you're doing, and it's like, 280 00:16:46,840 --> 00:16:48,799 so we're never too busy for each other. The music, 281 00:16:48,840 --> 00:16:51,519 which is good, yeah, and we all are involved in 282 00:16:51,559 --> 00:16:54,240 a lot of things. But Steven and I actually showed 283 00:16:54,320 --> 00:16:57,799 up at Pembroke City Limits just recently excellent. We were 284 00:16:57,799 --> 00:17:01,200 part of this project called Side Note. He was playing 285 00:17:01,200 --> 00:17:04,319 the guitar for them and I was playing auxiliary instruments 286 00:17:04,359 --> 00:17:06,799 like the cahonne and some war drones. And stuff. I 287 00:17:06,839 --> 00:17:11,960 didn't even know he was gonna be the guitarist, Okay, 288 00:17:12,440 --> 00:17:14,880 but I know you from somewhere, and so it's funny 289 00:17:14,920 --> 00:17:17,759 the we're hoping to get in the PCL there with 290 00:17:17,880 --> 00:17:20,759 Rob and maybe we'll get this outfit in there doing 291 00:17:20,759 --> 00:17:24,240 an acoustics ceter who knows. There you go, But we're 292 00:17:24,440 --> 00:17:27,440 We've been enjoying our time spent there, uh, And I've 293 00:17:27,559 --> 00:17:30,319 enjoying the opening their beautiful area and building. I like 294 00:17:30,359 --> 00:17:31,640 what they're doing with the food too. 295 00:17:32,759 --> 00:17:34,599 Speaker 1: I stopped in there the other day for the first time, 296 00:17:34,599 --> 00:17:36,640 and it's it's much bigger in there than I imagined. 297 00:17:36,799 --> 00:17:40,440 Speaker 5: I was surprised they got a perfect venue for just 298 00:17:40,480 --> 00:17:41,440 live music and stuff. 299 00:17:41,440 --> 00:17:43,440 Speaker 1: Oh yeah, absolutely yeah. 300 00:17:43,519 --> 00:17:45,160 Speaker 2: But I mean, I guess the people, not the place, 301 00:17:45,200 --> 00:17:49,920 but I regardless, you know, the uh the strange in Manchester. 302 00:17:50,880 --> 00:17:53,720 The Whole Loaf played there the other day and it 303 00:17:53,799 --> 00:17:56,200 was a free show. So they're playing with us tonight, 304 00:17:56,359 --> 00:17:59,559 and we felt like the need to support and not 305 00:17:59,720 --> 00:18:02,640 just the need, but we were building some community there. 306 00:18:02,680 --> 00:18:04,920 You were using the jump rope inside the change crew. 307 00:18:05,480 --> 00:18:07,200 Speaker 3: Yeah, they have a jump rope. 308 00:18:07,400 --> 00:18:07,880 Speaker 2: I brought it. 309 00:18:07,920 --> 00:18:09,039 Speaker 1: You brought the jump rope. 310 00:18:09,039 --> 00:18:10,799 Speaker 5: You're doing like double dutch in front of the stage. 311 00:18:10,920 --> 00:18:12,759 Speaker 2: I won't do that again. We got the message I 312 00:18:12,759 --> 00:18:13,599 won't do that again. 313 00:18:14,000 --> 00:18:15,720 Speaker 1: So why is that? 314 00:18:15,960 --> 00:18:19,119 Speaker 2: I think there's no pool rules sign outside, but I 315 00:18:19,119 --> 00:18:21,319 think we might have stretched the limits there a little bit. 316 00:18:21,359 --> 00:18:23,319 Speaker 1: You're not supposed to have a jump rope. 317 00:18:23,400 --> 00:18:25,799 Speaker 5: Well, I mean it wasn't explicit, but yeah, it's one 318 00:18:25,839 --> 00:18:27,240 of those like unspoken. 319 00:18:27,640 --> 00:18:29,720 Speaker 3: Like a liquor commissioner rule or something. 320 00:18:29,799 --> 00:18:31,759 Speaker 5: It's kind of like, don't don't leave with your beard, 321 00:18:31,799 --> 00:18:32,960 don't bring your jump rope in. 322 00:18:33,119 --> 00:18:33,680 Speaker 1: Right right? 323 00:18:33,799 --> 00:18:34,160 Speaker 3: Yeah? 324 00:18:34,240 --> 00:18:40,000 Speaker 2: Yeah, so yeah, but you know, uh, the terminus, I 325 00:18:40,000 --> 00:18:41,960 think there might be a little more leeway. They are 326 00:18:42,039 --> 00:18:44,759 a rehearsal space, so maybe they would be all right 327 00:18:44,799 --> 00:18:45,440 with the jump rope. 328 00:18:45,480 --> 00:18:46,759 Speaker 5: We're looking frisbee this time. 329 00:18:46,880 --> 00:18:48,920 Speaker 2: Yeah, oh, Frizze, bring in some bubbles. 330 00:18:49,000 --> 00:18:50,680 Speaker 1: I can imagine Frisbee being a problem. 331 00:18:50,720 --> 00:18:51,720 Speaker 2: Just bubbles. 332 00:18:51,759 --> 00:18:52,319 Speaker 1: Oh, there you go. 333 00:18:52,359 --> 00:18:53,880 Speaker 2: We got a couple of bubble girls that are just 334 00:18:53,880 --> 00:18:56,559 gonna hang out and blow bubbles right right. 335 00:18:56,839 --> 00:18:59,799 Speaker 1: Well, you know, Green Jelly slash Green Jellow is gonna 336 00:18:59,799 --> 00:19:02,720 be there on the twenty seventh, and I'm sure they'll uh. 337 00:19:02,319 --> 00:19:04,359 Speaker 2: We need to link up because you know how I'm 338 00:19:04,359 --> 00:19:05,000 a little wild. 339 00:19:05,079 --> 00:19:06,319 Speaker 3: They'll they'll push whatever back. 340 00:19:06,400 --> 00:19:09,039 Speaker 2: You need to link up on that. Yes, yes, I've 341 00:19:09,079 --> 00:19:09,960 seen what they do. 342 00:19:10,160 --> 00:19:11,720 Speaker 3: Yes, yes, yep, yep. 343 00:19:12,119 --> 00:19:14,440 Speaker 1: Yeah. They were on the show a number of months 344 00:19:14,440 --> 00:19:16,400 ago when they played in Manchester. We had them on 345 00:19:16,480 --> 00:19:18,920 and then Bill Man Speaker was like, yeah we should, 346 00:19:18,960 --> 00:19:21,319 uh we when we come back through the area, we 347 00:19:21,319 --> 00:19:22,279 should play somewhere. 348 00:19:22,440 --> 00:19:24,039 Speaker 2: It's so funny. Aaron's name is on the tip of 349 00:19:24,079 --> 00:19:25,319 my tongue. He put me onto them. 350 00:19:25,480 --> 00:19:26,119 Speaker 3: Oh really yeah? 351 00:19:26,200 --> 00:19:26,960 Speaker 1: Yeah? Yeah? 352 00:19:27,000 --> 00:19:28,599 Speaker 10: And then who got them booked? 353 00:19:28,680 --> 00:19:29,079 Speaker 1: You did? 354 00:19:29,319 --> 00:19:29,400 Speaker 2: Ye? 355 00:19:29,599 --> 00:19:31,880 Speaker 4: Yes, yes, forever. 356 00:19:32,839 --> 00:19:34,200 Speaker 2: I just don't have capes. 357 00:19:34,640 --> 00:19:37,119 Speaker 10: Eleanor and I are are going to pull that in 358 00:19:37,200 --> 00:19:39,359 our or resumes forever. 359 00:19:39,559 --> 00:19:41,599 Speaker 2: Yes, you know, for her too. I you know, like 360 00:19:41,640 --> 00:19:44,920 you mentioned, we're not giving a bunch of places right now. 361 00:19:44,960 --> 00:19:45,920 This is our first one. 362 00:19:46,079 --> 00:19:46,319 Speaker 1: Yeah. 363 00:19:46,319 --> 00:19:48,920 Speaker 2: And uh, I've been also just kind of on a 364 00:19:49,000 --> 00:19:51,079 road to recovery, and I wanted to just say, like 365 00:19:51,200 --> 00:19:53,480 to Eleanor and Andre, thank you so much for putting 366 00:19:53,559 --> 00:19:55,799 us on, because like it just gave me a lot 367 00:19:55,799 --> 00:19:57,640 of hope, It gave me a lot of resurgence. So 368 00:19:57,920 --> 00:19:59,799 that was really important that you guys gave us the 369 00:19:59,839 --> 00:20:01,839 ch hands and put us onto it. So I really 370 00:20:01,880 --> 00:20:04,480 want to say thank you for that because that touches 371 00:20:04,640 --> 00:20:05,440 place in my heart. 372 00:20:05,599 --> 00:20:09,200 Speaker 3: Yeah yeah, yeah, Now resurgence from from what you were. 373 00:20:10,039 --> 00:20:13,200 Speaker 2: I'm like, I've been sober for like sixteen months. 374 00:20:13,279 --> 00:20:14,640 Speaker 3: Okay, congratulations, no. 375 00:20:15,240 --> 00:20:18,400 Speaker 2: Whatever, it is like I went to a point where 376 00:20:18,400 --> 00:20:21,599 it was like, you know, like the jump rope. Yeah, 377 00:20:21,640 --> 00:20:24,839 I pushed the boundaries sometimes. So yeah, yeah, now I'm 378 00:20:24,839 --> 00:20:26,480 polishing it and getting under control. 379 00:20:26,519 --> 00:20:28,519 Speaker 1: Good for you, Good for you. I have to say, 380 00:20:28,559 --> 00:20:30,319 you look healthier than I've ever seen you. 381 00:20:31,000 --> 00:20:33,480 Speaker 2: Yeah, it's a different hui. Yeah, well I'll still always 382 00:20:33,519 --> 00:20:34,039 be huie. 383 00:20:34,119 --> 00:20:36,400 Speaker 1: Yeah. So I mean not that I thought there was 384 00:20:36,440 --> 00:20:38,079 any issue before. I like, I didn't know. 385 00:20:38,119 --> 00:20:41,279 Speaker 2: I didn't know that the men it was fun too. 386 00:20:41,400 --> 00:20:42,799 Speaker 3: But but you do look healthier. 387 00:20:42,880 --> 00:20:43,240 Speaker 2: Thank you. 388 00:20:43,359 --> 00:20:48,240 Speaker 1: Yeah, absolutely absolutely. Now, Oh, turn that mic around, Mike, 389 00:20:48,279 --> 00:20:49,880 if you would. I want to ask you, do you 390 00:20:49,920 --> 00:20:51,599 if you have other Do you have other projects you're 391 00:20:51,599 --> 00:20:54,599 involved in or you just focused on a lot of Corvette. 392 00:20:54,240 --> 00:20:56,519 Speaker 12: Or yeah, I have a reggae band. 393 00:20:56,640 --> 00:20:58,400 Speaker 1: Uh. We're called Boom Lava. 394 00:20:59,279 --> 00:20:59,960 Speaker 3: That's a cool name. 395 00:21:00,480 --> 00:21:00,640 Speaker 8: Yeah. 396 00:21:00,759 --> 00:21:02,400 Speaker 3: Yeah, we we do like a lot. 397 00:21:02,480 --> 00:21:03,839 Speaker 1: We do quite a few shows. 398 00:21:04,680 --> 00:21:08,079 Speaker 12: We got one in this place called the Canteen Brewery, 399 00:21:08,920 --> 00:21:13,240 Sterling Street. Devin's coming up on Friday at the end 400 00:21:13,319 --> 00:21:17,799 of August. Leave that's the twenty second or twenty third. 401 00:21:18,279 --> 00:21:21,119 And then we got another one in Rochester, mass which 402 00:21:21,160 --> 00:21:24,599 is I don't know exactly the details, but it's on 403 00:21:24,640 --> 00:21:25,359 the Facebook. 404 00:21:26,440 --> 00:21:28,680 Speaker 1: But yeah, but Boom Lava. Yeah, we do. 405 00:21:28,839 --> 00:21:29,440 Speaker 3: We do a lot. 406 00:21:29,480 --> 00:21:31,759 Speaker 12: We do originals, we do covers, and we're just all 407 00:21:31,799 --> 00:21:34,640 about the reggae, the love and that energy. You know. 408 00:21:34,839 --> 00:21:38,519 Speaker 1: Oh, very cool, very cool, and Brad, just a lot 409 00:21:38,559 --> 00:21:41,400 of Cotte for me right now, let me I'm sorry, 410 00:21:41,519 --> 00:21:45,480 you're Mike is I mean, I'm go ahead and say 411 00:21:45,519 --> 00:21:45,880 that again. 412 00:21:46,440 --> 00:21:49,720 Speaker 3: Oh I found you? Yeah, I found you. Yeah, I 413 00:21:49,720 --> 00:21:50,400 say that again, sir. 414 00:21:50,400 --> 00:21:53,079 Speaker 6: I'm sorry, just saying not in any other projects at 415 00:21:53,079 --> 00:21:55,519 the moment, just focusing on a want of Corvette. 416 00:21:55,519 --> 00:21:58,839 Speaker 1: But you're a drummer, yes now? Is so the reason 417 00:21:58,839 --> 00:22:01,079 this surprises me? And you might already know where I'm 418 00:22:01,119 --> 00:22:04,160 going with this, I know, Jenny does. Every drummer that 419 00:22:04,200 --> 00:22:05,799 we ever have on the show is in like ten 420 00:22:05,920 --> 00:22:09,119 or twelve different bands, because drummers are the hardest to find, 421 00:22:09,839 --> 00:22:11,599 and and this is your only band. 422 00:22:11,839 --> 00:22:12,480 Speaker 3: That's amazing. 423 00:22:15,799 --> 00:22:20,200 Speaker 2: Don't steal yeah, yeah, it's true. 424 00:22:20,599 --> 00:22:23,759 Speaker 1: We're not shopping him around like every every band we have, 425 00:22:24,200 --> 00:22:25,720 like the drummers in multiple bands. 426 00:22:25,839 --> 00:22:27,559 Speaker 3: And I have a theory about why that is. 427 00:22:28,279 --> 00:22:29,880 Speaker 1: I think it's because when you're growing up and you 428 00:22:29,880 --> 00:22:32,279 first want to you know, get you get interested in 429 00:22:32,279 --> 00:22:34,440 playing an instrument, you have to talk with the parents about, hey, 430 00:22:34,519 --> 00:22:35,400 I want to play something. 431 00:22:35,759 --> 00:22:36,359 Speaker 3: If you say. 432 00:22:36,279 --> 00:22:39,200 Speaker 1: Drums, drums and maybe the tuba or the two, they're 433 00:22:39,240 --> 00:22:41,799 going to actively try to talk you out of and say, 434 00:22:41,880 --> 00:22:43,839 how about something a little quieter, you know, because nobody 435 00:22:43,839 --> 00:22:46,480 wants all that noise in their house, if if if 436 00:22:46,519 --> 00:22:48,519 their parents, they don't want their their kid banging on 437 00:22:48,559 --> 00:22:52,680 a drum set all night. So that's my theory. So, uh, well, 438 00:22:52,720 --> 00:22:55,440 good for you. I'm glad that you know. This is uh, 439 00:22:55,480 --> 00:22:56,160 this is it for you. 440 00:22:56,519 --> 00:22:56,680 Speaker 11: Man. 441 00:22:56,720 --> 00:22:59,480 Speaker 2: It's funny with the projects with me, like I definitely 442 00:22:59,480 --> 00:23:03,640 need a little bit of like equilibrium, like logic and reason. 443 00:23:03,839 --> 00:23:06,720 Speaker 1: Yeah, yeah, and he provides it. 444 00:23:06,720 --> 00:23:08,039 Speaker 2: It's not easy to provide that. 445 00:23:10,440 --> 00:23:11,599 Speaker 3: No, that makes sense. 446 00:23:11,880 --> 00:23:14,680 Speaker 1: And so speaking of instruments too, So you're you're playing 447 00:23:14,720 --> 00:23:17,319 the bongos, is that the correct name for what you're 448 00:23:17,359 --> 00:23:18,599 doing or is that? Yeah? 449 00:23:18,640 --> 00:23:20,960 Speaker 2: And then That's why I sometimes use the term auxiliary 450 00:23:21,000 --> 00:23:23,119 instruments too, if it's if it's going to be a 451 00:23:23,119 --> 00:23:25,680 different bongo or a little hand drummer or whatever. 452 00:23:25,720 --> 00:23:28,359 Speaker 3: But because I usually see you playing a guitar, that's 453 00:23:28,359 --> 00:23:28,920 why I wondered. 454 00:23:30,359 --> 00:23:32,640 Speaker 2: It's usually I carry around a little If you've ever 455 00:23:32,640 --> 00:23:35,000 seen me out on the sometimes out on the town, 456 00:23:35,039 --> 00:23:37,440 I'll have a little tiny minutes your pair. But yeah, 457 00:23:37,880 --> 00:23:41,279 I derive a lot of my cont It's funny we 458 00:23:41,319 --> 00:23:43,680 have a common friend in here. He hosts this strange 459 00:23:43,680 --> 00:23:47,119 grew open Mike's. His name is Scottie Armstrong and uh, 460 00:23:47,480 --> 00:23:49,720 he's the drummer. And I didn't know anything. 461 00:23:49,720 --> 00:23:50,640 Speaker 3: How many bands to see him? 462 00:23:50,680 --> 00:23:53,920 Speaker 2: D know none. I don't think that's crazy. And one 463 00:23:53,960 --> 00:23:55,519 and he's he's like a secret agent. 464 00:23:55,599 --> 00:23:55,880 Speaker 1: I can't. 465 00:23:55,920 --> 00:23:57,880 Speaker 2: He comes in every now and then. Have you ever 466 00:23:57,920 --> 00:24:00,880 heard of Jordan Quinn. Yes, he comes in and does 467 00:24:01,000 --> 00:24:04,640 work with her accompaniments. He's like a secret agent. I'll 468 00:24:04,640 --> 00:24:06,400 back you up when you need it, you know. 469 00:24:06,599 --> 00:24:07,079 Speaker 3: Interesting? 470 00:24:07,119 --> 00:24:11,799 Speaker 2: Okay, yeah, But with Scotty the for me conceptual wise, 471 00:24:11,960 --> 00:24:13,960 with the bongos, he said to me, you need to 472 00:24:14,000 --> 00:24:17,240 learn how to write the drum parts, little snare things there, 473 00:24:17,440 --> 00:24:19,200 and you need to learn your fat backs and you 474 00:24:19,240 --> 00:24:22,400 need to carry around a set of bongos and learn thetaz. 475 00:24:22,839 --> 00:24:25,400 And then once you do, when Brad says something to 476 00:24:25,400 --> 00:24:28,079 me like five seven, yeah, I'm looking at him like 477 00:24:28,799 --> 00:24:31,960 is that reptile for I don't know? Yeah, And then 478 00:24:32,359 --> 00:24:35,279 but now I can understand because I'm trying to put 479 00:24:35,279 --> 00:24:37,799 some of the work in So yeah, yeah, still wear 480 00:24:37,839 --> 00:24:39,079 a lot of work in progress. 481 00:24:39,200 --> 00:24:42,119 Speaker 3: Yeah yeah, no, that's cool. Uh do you do that 482 00:24:42,160 --> 00:24:43,319 on all the songs that you do? 483 00:24:43,519 --> 00:24:45,480 Speaker 2: Or we have two Latin ones. We have a good 484 00:24:45,519 --> 00:24:48,400 one called Queen of Scorn, and then we have the 485 00:24:48,480 --> 00:24:52,400 other one. Is that's the only one pain? 486 00:24:52,680 --> 00:24:55,640 Speaker 5: Oh yeah yeah that was like a funk groove kind 487 00:24:55,640 --> 00:24:55,839 of thing. 488 00:24:56,039 --> 00:24:59,039 Speaker 2: Yeah, a little bongo layered on on Pain on my mind. 489 00:24:59,160 --> 00:25:02,880 Yeah yeah, okay, so that one and Queen, and then 490 00:25:03,039 --> 00:25:08,839 I do a touch of like lead guitar ish, just 491 00:25:08,880 --> 00:25:12,039 like playing guitar, like some wah Wan stuff on like 492 00:25:12,079 --> 00:25:14,680 we play come Together. We're gonna play that tonight and 493 00:25:14,720 --> 00:25:18,319 then we're gonna play my song. I actually play rhythm on. 494 00:25:18,559 --> 00:25:21,519 We have one song we play called Sewer Person and 495 00:25:21,559 --> 00:25:24,720 that's a huge song, as you can tell. Yeah, but 496 00:25:24,720 --> 00:25:28,799 but it made it over into the Yeah, and it's 497 00:25:28,839 --> 00:25:29,680 got a cool energy. 498 00:25:29,799 --> 00:25:31,440 Speaker 3: I feel like that song has a story. 499 00:25:32,160 --> 00:25:32,279 Speaker 7: Uh. 500 00:25:32,440 --> 00:25:35,480 Speaker 2: Sewer person is like about somebody that's like sitting on 501 00:25:35,519 --> 00:25:37,480 the stoop that you're not sure if they might have 502 00:25:38,079 --> 00:25:40,599 some stuff that you might not want to contract, but 503 00:25:40,640 --> 00:25:42,920 you definitely want to share the joint with them and 504 00:25:42,960 --> 00:25:45,400 maybe rip off the end of it, you know. But 505 00:25:45,559 --> 00:25:47,480 you know, it's like you don't want to turn away 506 00:25:47,519 --> 00:25:49,599 from that person. You want to listen to their story, 507 00:25:50,200 --> 00:25:51,920 and you want to treat them listening because we're all 508 00:25:51,960 --> 00:25:54,519 sewer people. And I don't care if it's out of 509 00:25:54,559 --> 00:25:56,920 AA meeting or they're sitting on that stoop. Wherever that 510 00:25:56,960 --> 00:25:59,720 person is that needs to be heard. It's just like 511 00:25:59,720 --> 00:26:02,640 the musicians, listening is their most powerful tool. 512 00:26:02,799 --> 00:26:03,079 Speaker 3: Yep. 513 00:26:03,160 --> 00:26:05,920 Speaker 2: So I try and you know, listen to a person 514 00:26:05,960 --> 00:26:07,000 even if they're from the sewer. 515 00:26:07,519 --> 00:26:10,839 Speaker 1: Oh okay, very good. And but in a situation like that, 516 00:26:10,880 --> 00:26:11,559 you don't call the. 517 00:26:11,519 --> 00:26:12,480 Speaker 3: Person a sewer person. 518 00:26:12,480 --> 00:26:13,839 Speaker 2: Well, I'm a sewer person, but. 519 00:26:13,880 --> 00:26:14,880 Speaker 3: You don't say you don't. 520 00:26:15,720 --> 00:26:18,240 Speaker 1: You don't address them as such because they might take 521 00:26:18,279 --> 00:26:18,640 it wrong. 522 00:26:18,920 --> 00:26:22,359 Speaker 2: Amen, you know, I hope they never do. I honestly 523 00:26:22,359 --> 00:26:23,240 hope they never do. 524 00:26:25,960 --> 00:26:27,279 Speaker 3: Oh, very cool, very cool. 525 00:26:28,119 --> 00:26:28,480 Speaker 1: How many? 526 00:26:28,559 --> 00:26:30,720 Speaker 3: How many songs do you guys? I know you just 527 00:26:30,839 --> 00:26:32,319 wanted to do the two today, But do. 528 00:26:32,319 --> 00:26:35,079 Speaker 1: You guys have a lot of material that you've written 529 00:26:35,079 --> 00:26:35,839 together as a band? 530 00:26:35,960 --> 00:26:38,240 Speaker 5: Yes, all together with what we've written, I think we 531 00:26:38,279 --> 00:26:40,480 have like forty minutes of material right now. We probably 532 00:26:40,480 --> 00:26:42,359 have like seven or eight songs. 533 00:26:42,440 --> 00:26:44,440 Speaker 2: I think maybe nine if. 534 00:26:44,400 --> 00:26:46,240 Speaker 5: It might be nine. Yeah, and then a couple that 535 00:26:46,319 --> 00:26:48,440 are in the works, aren't ready to come out yet. 536 00:26:48,519 --> 00:26:51,200 Speaker 3: Yeah. Yeah, Oh very cool, excellent ectually. 537 00:26:51,240 --> 00:26:52,319 Speaker 2: Yeah that leave it where it Lies. 538 00:26:52,359 --> 00:26:55,880 Speaker 5: It's still a little rusty, yeah that I know. It's 539 00:26:55,960 --> 00:26:58,440 too good to drop. Yeah. We got this one, this 540 00:26:58,519 --> 00:27:00,680 one riff that that I just came up with a 541 00:27:00,680 --> 00:27:03,359 couple of days ago. We call it leave It where 542 00:27:03,400 --> 00:27:05,559 it Lies. It's like it's kind of like a big 543 00:27:05,680 --> 00:27:07,799 kind of bridge or like a chorus kind of thing. 544 00:27:08,200 --> 00:27:09,880 We just play it over and over again to keep 545 00:27:09,880 --> 00:27:11,720 it fresh. But we need to add more parts to it. 546 00:27:11,720 --> 00:27:14,359 It just hasn't it's not ready yet. It hasn't emerged. 547 00:27:14,559 --> 00:27:17,440 Speaker 2: Yeah yeah, yeah, but I like it. Also, the thing 548 00:27:17,519 --> 00:27:20,519 we really needed is Steven's leadership. He like comes up 549 00:27:20,559 --> 00:27:23,759 with some progressions. He's out there playing rhythm and lead 550 00:27:23,880 --> 00:27:26,960 on his own holding in the fort, you know, and 551 00:27:27,000 --> 00:27:28,720 he does that for us, and we need him to 552 00:27:28,720 --> 00:27:30,799 do that and he does it. So it's it's not 553 00:27:30,839 --> 00:27:33,799 an easy task. And you know, thank you because like 554 00:27:33,880 --> 00:27:36,759 the songs are coming out great with those progressions coming together. 555 00:27:36,599 --> 00:27:38,880 Speaker 3: So excellent, excellent. 556 00:27:39,480 --> 00:27:41,279 Speaker 1: By the way, we have somebody new in the chat room. 557 00:27:41,680 --> 00:27:46,039 Hermit Starky says, good morning, Matt and Jen. We say, 558 00:27:46,160 --> 00:27:50,519 how are you from us, Hermit Starky. We are a 559 00:27:50,559 --> 00:27:54,160 singing group quartet. We are from Greensboro, North Carolina. 560 00:27:54,400 --> 00:27:56,039 Speaker 3: Oh no, really, what was. 561 00:27:56,319 --> 00:28:01,039 Speaker 1: Hope the rappers say earlier about bots. Yes, we have 562 00:28:01,079 --> 00:28:02,680 a lot of I don't know if this happened, if 563 00:28:02,680 --> 00:28:04,119 this has happened any of the times you've been honest. 564 00:28:04,279 --> 00:28:06,519 Speaker 2: We say hello to North Carolina. 565 00:28:06,640 --> 00:28:08,759 Speaker 3: Yes you speak. 566 00:28:11,279 --> 00:28:16,119 Speaker 5: Hermit. Yes, that's our new band name. If Alana Corvette's taken. 567 00:28:16,279 --> 00:28:17,599 Speaker 3: There you go, there you go. Yes. 568 00:28:17,599 --> 00:28:19,880 Speaker 1: We get a lot of people, uh in the chat 569 00:28:19,920 --> 00:28:22,559 room who are from Greensboro, North Carolina, and they're all 570 00:28:22,599 --> 00:28:24,720 in these pop singing groups and they all talk about 571 00:28:24,759 --> 00:28:25,759 how they sing and dance. 572 00:28:25,920 --> 00:28:28,720 Speaker 2: We always say about Alana Corvette, right, we always say 573 00:28:28,799 --> 00:28:31,440 she's not popular, she's not shy, but be careful, she 574 00:28:31,519 --> 00:28:32,640 might be a guy or ai. 575 00:28:33,319 --> 00:28:39,000 Speaker 1: Uh huh ah, yes, yes, yes, very good. Does the 576 00:28:39,079 --> 00:28:41,839 name uh we talked about the name where it came from. 577 00:28:41,839 --> 00:28:44,039 But does it have a special meeting or did it 578 00:28:44,119 --> 00:28:44,720 just sound. 579 00:28:44,519 --> 00:28:48,400 Speaker 2: Cool or it's the logo? So for us, we're a 580 00:28:48,400 --> 00:28:51,880 little bit camera shy. Yeah, yeah, right, no, I'm just kidding. 581 00:28:52,000 --> 00:28:55,160 I'm not. But you know, we're working on the whole 582 00:28:56,839 --> 00:28:59,880 pictures like thing, and right now it's just been easier 583 00:28:59,880 --> 00:29:03,839 to do concept art. Okay, and with Elana the corvette, Yeah, 584 00:29:03,960 --> 00:29:06,680 we can draw it. Yeah, we could have somebody paint it. 585 00:29:06,720 --> 00:29:08,640 We should have some people paint it because I want 586 00:29:08,640 --> 00:29:10,839 to work with oils and acrylics and commission someone for 587 00:29:11,000 --> 00:29:15,480 art rather than doing digital art. Right whatever, But the 588 00:29:15,480 --> 00:29:18,759 digital art thing, we had to get something out there. Yeah, 589 00:29:18,799 --> 00:29:22,119 So it came together easier with that. So it was 590 00:29:22,160 --> 00:29:24,799 a means it's it's like the whole thing. It's a vehicle. 591 00:29:25,119 --> 00:29:28,079 So you know when we and we use that to 592 00:29:28,240 --> 00:29:32,640 just produce you know, I think the logo looks nice. Yeah, 593 00:29:32,640 --> 00:29:35,200 and we'll look down the line as far as what 594 00:29:35,240 --> 00:29:38,160 we do for merch maybe a T shirt. Yeah, so 595 00:29:38,200 --> 00:29:39,480 then then well then we'll really be. 596 00:29:39,440 --> 00:29:41,359 Speaker 7: Like, oh, what do we like about this logo? 597 00:29:41,400 --> 00:29:43,279 Speaker 2: Because once the D shirt it gets a little more 598 00:29:43,599 --> 00:29:44,960 you really want it to be nice. 599 00:29:45,039 --> 00:29:45,640 Speaker 3: Then it's real. 600 00:29:45,960 --> 00:29:48,039 Speaker 2: Yeah, you know, exactly, exactly. 601 00:29:48,119 --> 00:29:50,160 Speaker 3: Yeah, No, it's a cool it's a cool name. It's 602 00:29:50,160 --> 00:29:52,359 a cool logo. I dig it. Did uh? 603 00:29:52,400 --> 00:29:54,079 Speaker 1: Did you guys all agree on it right away on 604 00:29:54,160 --> 00:29:54,680 the name. 605 00:29:55,000 --> 00:29:56,960 Speaker 5: Or pretty much? We're kind of like, it's still in 606 00:29:57,000 --> 00:29:58,880 the works, but it's kind of the best name we 607 00:29:58,920 --> 00:29:59,440 got so far. 608 00:29:59,680 --> 00:30:02,960 Speaker 1: Yeah. Yeah. Do you remember any of the others we 609 00:30:03,000 --> 00:30:05,720 talked about one that you rejected? But the sagis But 610 00:30:05,759 --> 00:30:06,799 do you remember I love Have. 611 00:30:06,759 --> 00:30:09,400 Speaker 2: You ever heard you've heard the Mookie Blaylock thing? Yeah, 612 00:30:09,759 --> 00:30:13,799 Pearl jam Yes, they were in our Mookie Blaylock phase. 613 00:30:14,000 --> 00:30:14,200 Speaker 3: Yeah. 614 00:30:14,240 --> 00:30:17,880 Speaker 2: Where we're just we're shopping right But we like Alana 615 00:30:17,960 --> 00:30:20,079 right now, Corvette and I think that's the thing we 616 00:30:20,160 --> 00:30:22,359 might be married to for a bit. But the SAGI is, 617 00:30:22,839 --> 00:30:24,720 it's going to hold a place in our heart for sure. 618 00:30:25,359 --> 00:30:27,920 But that band from New Jersey, they're wrapping it. Yeah, 619 00:30:27,920 --> 00:30:29,079 so I gotta let him have it. 620 00:30:29,200 --> 00:30:31,440 Speaker 3: Yeah yeah, yeah. For those who don't know. 621 00:30:31,480 --> 00:30:34,640 Speaker 1: So Mookie Blaylock was the original name Pearl Jam had 622 00:30:34,920 --> 00:30:37,200 and he's a baseball player, right basketball? Oh? 623 00:30:37,279 --> 00:30:37,839 Speaker 3: Basketball? 624 00:30:37,880 --> 00:30:41,039 Speaker 1: Okay, And then I think they did did the guy 625 00:30:41,359 --> 00:30:42,839 or is the state threaten to sue them? 626 00:30:42,880 --> 00:30:43,960 Speaker 3: Is that what it was? 627 00:30:44,119 --> 00:30:46,160 Speaker 2: The basketball player was going through some legal issues of 628 00:30:46,200 --> 00:30:47,920 his own, so it became a thing. 629 00:30:48,200 --> 00:30:50,359 Speaker 1: Oh okay, Yes, I didn't know about that part. Yeah, 630 00:30:50,400 --> 00:30:52,119 So then they weren't with Pearl Jam. 631 00:30:52,440 --> 00:30:52,799 Speaker 3: I don't know. 632 00:30:52,880 --> 00:30:55,599 Speaker 1: I think it was probably a good decision. Yes, seems 633 00:30:55,599 --> 00:30:58,319 like they they sold a few records. 634 00:30:57,960 --> 00:31:01,240 Speaker 2: Where it's just it's funny, like you said, the promoting 635 00:31:01,279 --> 00:31:03,960 thing with the different social media's and stuff like that, 636 00:31:04,160 --> 00:31:08,000 where your intention and your message is the most important thing. Yeah, 637 00:31:08,359 --> 00:31:11,440 so it's funny. We we we try and stick with 638 00:31:11,440 --> 00:31:14,440 our integrity with that within our songs and the music 639 00:31:14,720 --> 00:31:18,880 and as far as the marketing goes, we're trying to 640 00:31:18,920 --> 00:31:21,680 do something that serves a purpose as far as you know, 641 00:31:22,519 --> 00:31:25,640 helps us reach an audience more and with the Latin songs, 642 00:31:26,039 --> 00:31:28,680 that's even where for me, I've and we've talked about 643 00:31:28,720 --> 00:31:31,480 incorporating some Spanish eventually into it. Yeah, because we're in 644 00:31:31,480 --> 00:31:33,759 southern New Hampshire, so we don't want someone to walk 645 00:31:33,799 --> 00:31:36,480 through the door of a bar that speaks maybe Spanish. 646 00:31:36,559 --> 00:31:38,599 We don't. We don't want to alienate half our audience 647 00:31:38,680 --> 00:31:39,319 right out the gate. 648 00:31:39,519 --> 00:31:41,720 Speaker 3: Oh that's interesting you. So do you speak Spanish? 649 00:31:41,920 --> 00:31:46,119 Speaker 2: Uh? Poco, uh, tank twetatto, peril, nothings meto. It means 650 00:31:46,440 --> 00:31:49,240 have caution, but do not have fear. Oh okay, so 651 00:31:49,359 --> 00:31:50,920 I a few things. 652 00:31:51,000 --> 00:31:52,400 Speaker 3: That's more than I took three years. 653 00:31:52,480 --> 00:31:55,079 Speaker 2: Like say, if like a grandmother came to a wedding 654 00:31:55,079 --> 00:31:57,680 and nobody else there spoke Spanish, I'd be like, I 655 00:31:57,759 --> 00:32:01,799 got you, Oh can chat? Yeh know, you know, but 656 00:32:02,079 --> 00:32:05,880 you know when I'm called upon. Yeah, we're not going 657 00:32:05,920 --> 00:32:08,240 to add all kinds of languages into it, but we 658 00:32:08,480 --> 00:32:11,720 just we want to be approachable and we want to 659 00:32:11,960 --> 00:32:14,359 approach all audiences. So how can you say you do 660 00:32:14,480 --> 00:32:16,039 that if you're not actually trying to do it. 661 00:32:16,279 --> 00:32:18,839 Speaker 5: Yeah, we're really trying to cover like a wide range 662 00:32:18,880 --> 00:32:21,200 of sounds and genres to not get too locked into 663 00:32:21,279 --> 00:32:23,200 one thing with like, oh, we're just gonna sound like 664 00:32:23,720 --> 00:32:26,079 Cage the Elephant, Indie Clone or something right r. 665 00:32:26,480 --> 00:32:29,039 Speaker 2: Yeah, you just had the artist in here. We're working 666 00:32:29,079 --> 00:32:31,079 with a rapper, so we can maybe have a hip 667 00:32:31,079 --> 00:32:33,359 hop song or too cool so that you can say 668 00:32:33,359 --> 00:32:34,599 we don't cover that genre to. 669 00:32:34,880 --> 00:32:36,960 Speaker 3: Right, right, you're working with somebody already. 670 00:32:37,119 --> 00:32:49,839 Speaker 2: Yeah who Melissa, Yeah yeah, Lash Melissa Lash l a chat. 671 00:32:50,039 --> 00:32:53,359 I wonder correctly too, but I believe it's Melissa Latch, 672 00:32:54,079 --> 00:32:54,640 so yes. 673 00:32:54,799 --> 00:32:58,960 Speaker 3: Latch okay, and she's got what she's gonna rap on 674 00:32:59,000 --> 00:33:00,799 a song or so she. 675 00:33:00,920 --> 00:33:04,200 Speaker 2: Has an original it's called money, like I think money 676 00:33:05,000 --> 00:33:09,680 something problems, Sorry about that, Okay, I'm catching up on that. Yeah, 677 00:33:09,880 --> 00:33:13,640 this is a new and uh where we've currently been 678 00:33:14,039 --> 00:33:17,119 creating like an instrumental that could be a backing for it, okay, 679 00:33:17,440 --> 00:33:20,519 and then whether it she joins a project or whatever. 680 00:33:20,599 --> 00:33:23,079 But that's like a thing where I created an accompaniment 681 00:33:23,160 --> 00:33:25,640 for her. She's doing a lower water festival this weekend 682 00:33:25,759 --> 00:33:29,759 for Cambodia, like it's a it's like an awareness type 683 00:33:29,759 --> 00:33:30,079 of thing. 684 00:33:30,279 --> 00:33:31,720 Speaker 5: And the low folk fest down there. 685 00:33:31,960 --> 00:33:35,680 Speaker 2: Yeah yeah, so I created this like a traditional Cambodian 686 00:33:35,720 --> 00:33:39,440 backing track for her, and then she was like, could 687 00:33:39,480 --> 00:33:41,359 you also create a backing track for my wrap thing? 688 00:33:41,640 --> 00:33:43,200 And I was like, well that's no, I need a 689 00:33:43,240 --> 00:33:46,839 drummer and a bassist. Yeah, so that's now we're here. 690 00:33:48,359 --> 00:33:54,480 So you you you created a Cambodian a traditional Cambodian 691 00:33:54,599 --> 00:33:57,319 like accompaniment. It's got like yeah, it's got like mallets 692 00:33:57,400 --> 00:34:01,119 and like clovs and like a I don't know. It's 693 00:34:01,160 --> 00:34:04,799 got the use of like instruments that are more traditional 694 00:34:04,880 --> 00:34:06,000 worldly type. 695 00:34:05,759 --> 00:34:08,639 Speaker 5: Of you know, like boards of Canada. Yeah, this is 696 00:34:08,679 --> 00:34:09,800 like Boards of Cambodia. 697 00:34:09,960 --> 00:34:10,280 Speaker 1: Okay. 698 00:34:10,440 --> 00:34:14,119 Speaker 2: Yeah. And it's got a little a little synth thing 699 00:34:14,239 --> 00:34:16,639 that you think, like you're walking by the little water 700 00:34:16,760 --> 00:34:17,000 thing and. 701 00:34:17,000 --> 00:34:20,159 Speaker 7: It's how do how does this even happen? 702 00:34:20,239 --> 00:34:22,079 Speaker 3: That you like, how do you even know to do well? 703 00:34:22,400 --> 00:34:23,719 I always learn things from you. 704 00:34:25,400 --> 00:34:26,119 Speaker 5: You got to just point. 705 00:34:28,400 --> 00:34:32,360 Speaker 2: So I feel like if like if I if I 706 00:34:32,480 --> 00:34:35,840 say no to branching out type of thing recently, it's 707 00:34:35,880 --> 00:34:40,440 only because I'm working on that trying to but but 708 00:34:40,679 --> 00:34:44,079 but in general I try and branch out because I 709 00:34:44,320 --> 00:34:47,880 I think that it's it's funny that whole keeping your 710 00:34:47,960 --> 00:34:52,320 ear open. I lose the humility and in the very 711 00:34:52,400 --> 00:34:54,719 second when I don't do it, like when I uh, 712 00:34:55,039 --> 00:34:58,519 but it's almost like you can learn lessons from every 713 00:34:58,639 --> 00:35:00,639 type of person out there. Oh yeah, And even if 714 00:35:00,679 --> 00:35:03,119 I think at first, like maybe this guy plays just 715 00:35:03,239 --> 00:35:06,280 down home country and whatever. Then all of a sudden, 716 00:35:06,360 --> 00:35:08,960 I'm like, did I just learn to play like a 717 00:35:09,079 --> 00:35:12,239 nice transition from a minor to like a d from 718 00:35:12,280 --> 00:35:14,800 that guy, even though he just plays down home country. 719 00:35:15,559 --> 00:35:18,079 So I try and pick up everybody's little tricks. They 720 00:35:18,159 --> 00:35:21,000 got up their sleeves and adam in my book. And 721 00:35:21,400 --> 00:35:24,320 like I said, this woman Melissa, she may be a rapper, 722 00:35:24,400 --> 00:35:27,199 but she's Cambodian. She has this all this heritage and 723 00:35:27,480 --> 00:35:31,639 stuff and these auxiliary instruments their father left behind. And 724 00:35:31,840 --> 00:35:35,280 I'm like, yo, tink tink tink, set up in front 725 00:35:35,320 --> 00:35:37,159 of the condenser. Mic ooh that's a neat sound. 726 00:35:37,280 --> 00:35:37,519 Speaker 8: Wow. 727 00:35:38,360 --> 00:35:41,239 Speaker 3: So I just love and you do like to experiment. 728 00:35:41,400 --> 00:35:43,119 Speaker 2: You know, when you find an instrument in the basement 729 00:35:43,199 --> 00:35:44,760 and somebody tells you about how good it is, but 730 00:35:44,840 --> 00:35:48,599 it's dusty, like to I like to clean it up 731 00:35:48,960 --> 00:35:51,519 and record it and go now it really sounds good 732 00:35:51,679 --> 00:35:54,920 on the track. So I really like to find where 733 00:35:54,960 --> 00:35:57,800 we can. And you have to hear each other and 734 00:35:57,840 --> 00:36:00,079 work together. Yeah, if I didn't listen to the what 735 00:36:00,199 --> 00:36:03,280 these guys come up with. They make most of the instrumentals. 736 00:36:03,360 --> 00:36:03,880 Speaker 1: I just sing. 737 00:36:04,480 --> 00:36:07,480 Speaker 2: So in this group, it's so like, I really really 738 00:36:07,599 --> 00:36:10,280 have to listen. Yeah, and if I and if my 739 00:36:10,519 --> 00:36:13,480 vocals come in and it's it doesn't do their instrumental 740 00:36:13,719 --> 00:36:15,000 justice start over? 741 00:36:15,280 --> 00:36:15,480 Speaker 1: Yep. 742 00:36:15,800 --> 00:36:17,480 Speaker 3: Yeah, no, it makes sense. 743 00:36:17,360 --> 00:36:19,079 Speaker 2: That that can be When they say to me, Hey, 744 00:36:19,239 --> 00:36:21,599 that one wasn't it. Sometimes I'm like, let me go 745 00:36:21,639 --> 00:36:23,559 on the porch. You cry. I'm just. 746 00:36:26,760 --> 00:36:28,000 Speaker 3: Oh, very cool, very cool. 747 00:36:28,199 --> 00:36:28,320 Speaker 8: Uh? 748 00:36:28,760 --> 00:36:30,840 Speaker 3: So, are you gonna record with her or is she 749 00:36:31,000 --> 00:36:32,079 just gonna play live with you. 750 00:36:32,159 --> 00:36:37,800 Speaker 2: Or development as a lot of corvette. We're working on it. 751 00:36:37,960 --> 00:36:41,039 Speaker 5: Okay, okay, but have some like backup vocals or something 752 00:36:41,119 --> 00:36:41,280 like that. 753 00:36:41,440 --> 00:36:43,239 Speaker 3: Yeah yeah, yeah, oh very cool. 754 00:36:43,280 --> 00:36:46,159 Speaker 2: She's got a very Donna with the dead vibe. Yeah yeah, 755 00:36:46,960 --> 00:36:49,920 all right, she's a preaching peace and movement and then 756 00:36:50,400 --> 00:36:52,000 all of a sudden belts out a note and you go, 757 00:36:52,239 --> 00:36:53,400 I kind of think that does fit. 758 00:36:53,719 --> 00:36:56,480 Speaker 3: Yeah, very cool, very cool. 759 00:36:57,400 --> 00:36:59,639 Speaker 1: Now what uh before we run out of time to 760 00:37:00,239 --> 00:37:02,000 uh what do you obviously you've got the show a 761 00:37:02,079 --> 00:37:02,719 terminus tonight? 762 00:37:02,760 --> 00:37:04,599 Speaker 3: And then are you do you have more shows lined up? 763 00:37:04,760 --> 00:37:05,400 Or what's uh? 764 00:37:05,599 --> 00:37:07,679 Speaker 5: Hit us up on Facebook? Man, We're ready to play? 765 00:37:07,880 --> 00:37:10,559 Speaker 3: Yeah yeah, yeah, you guys are a pretty new project. 766 00:37:10,719 --> 00:37:12,920 Speaker 1: So well, I think it's very cool that you came 767 00:37:12,960 --> 00:37:15,159 in here to play and uh and we got to 768 00:37:15,280 --> 00:37:17,679 kind of you know, present you having us. 769 00:37:18,239 --> 00:37:20,199 Speaker 2: My buddy there, Jim Hurley with Turbocats. 770 00:37:20,800 --> 00:37:22,199 Speaker 3: Oh, Turbocats was on the show. 771 00:37:22,639 --> 00:37:23,679 Speaker 2: The drummer was here too. 772 00:37:24,159 --> 00:37:25,679 Speaker 3: I think I think the whole band, the whole band 773 00:37:25,760 --> 00:37:27,039 was here, right, Jenny, Yeah, I. 774 00:37:27,039 --> 00:37:29,800 Speaker 2: Think Jim the drummer there. He's older it than the 775 00:37:29,840 --> 00:37:31,559 rest of the group. Yeah, yeah, yeah, okay. 776 00:37:32,000 --> 00:37:32,119 Speaker 1: Uh. 777 00:37:32,480 --> 00:37:35,800 Speaker 2: He has a barbecue like a little party. We'll play 778 00:37:35,840 --> 00:37:39,480 at that. Yeah, that's our next thing we have. Okay, okay, 779 00:37:39,719 --> 00:37:42,280 but you know, so we like to get a real 780 00:37:42,800 --> 00:37:45,480 gig out there. And yeah, you know, it's some at 781 00:37:45,519 --> 00:37:48,880 a venue. But I love Jim and I appreciate him 782 00:37:48,920 --> 00:37:50,880 for putting us on on that. That's good vibes. So 783 00:37:51,119 --> 00:37:52,360 keep the keep the dream going. 784 00:37:52,519 --> 00:37:54,960 Speaker 3: Yeah, absolutely, you work a lot with Jim. 785 00:37:55,079 --> 00:37:56,320 Speaker 12: Yeah, Jim's a great guy. 786 00:37:56,679 --> 00:38:01,559 Speaker 3: Okay, Yeah, Dream Alive and Turbocats is great. We like 787 00:38:01,679 --> 00:38:02,639 them very very much. 788 00:38:02,960 --> 00:38:07,320 Speaker 2: My cat looks like a cow mu yow. Genius. 789 00:38:09,960 --> 00:38:11,599 Speaker 1: And where should people go online to keep up with 790 00:38:11,639 --> 00:38:12,519 everything you guys are doing. 791 00:38:12,800 --> 00:38:15,079 Speaker 2: Yeah, we're at a lot of Corvette on Facebook right now. 792 00:38:15,199 --> 00:38:19,000 We'll get on the Instagram. Sorry about dragging my heels everyone, but. 793 00:38:19,480 --> 00:38:20,679 Speaker 3: Right now it is a new band. 794 00:38:20,880 --> 00:38:23,599 Speaker 2: Yeah, we don't have any demos or music out there 795 00:38:23,679 --> 00:38:25,440 right now, guys, but once we do the show tonight 796 00:38:25,480 --> 00:38:27,800 at Terminus, you'll be able to see us on Facebook. 797 00:38:27,880 --> 00:38:31,800 So support Midnight Creative Collective, support Terminus Underground because they're 798 00:38:31,800 --> 00:38:33,599 supporting live music absolutely. 799 00:38:33,840 --> 00:38:37,920 Speaker 1: Absolutely well, guys, Thank you so much, and we'll have 800 00:38:38,000 --> 00:38:40,239 to do this again in the future. And I really 801 00:38:40,360 --> 00:38:43,679 dig what you're doing and I look forward to premiering 802 00:38:43,760 --> 00:38:45,880 some studio tracks too when you're ready right on. 803 00:38:46,000 --> 00:38:47,519 Speaker 5: Thanks for having us much appreciate 804 00:38:47,519 --> 00:38:49,199 Speaker 3: It absolutely guys, Thank you so much.