1 00:00:00,760 --> 00:00:06,120 Speaker 1: W M N h rips the nobles. We're back from 2 00:00:06,120 --> 00:00:40,600 the ground. 3 00:00:42,240 --> 00:00:45,920 Speaker 2: There's nothing near from me all storm breajas. 4 00:00:45,920 --> 00:00:48,359 Speaker 3: It is not a thing that they could try to 5 00:00:48,439 --> 00:00:58,000 see just well. The will to change the chas this 6 00:00:58,640 --> 00:01:04,439 last yeah, we'll always give me some nether landcations that 7 00:01:04,840 --> 00:01:08,120 them say yeah and decide honestly. 8 00:01:11,560 --> 00:01:15,480 Speaker 4: Side nother one not you can know, take. 9 00:01:15,519 --> 00:01:18,760 Speaker 5: You mine chance up day. It's not dead and some 10 00:01:18,920 --> 00:01:22,480 model never comes. At least the stands up to that 11 00:01:22,719 --> 00:01:30,159 hid the man John fasts not even though I said, 12 00:01:30,239 --> 00:01:32,799 can see the one never'll fix you up. 13 00:01:33,280 --> 00:01:37,439 Speaker 2: And tom never comes the least the stands out tonight. 14 00:02:03,319 --> 00:02:05,599 Speaker 4: I don't know God it him? 15 00:02:05,840 --> 00:02:08,319 Speaker 6: Uh say can I say something? 16 00:02:08,560 --> 00:02:13,120 Speaker 2: Thats ft out its model? Another jobs the mister. 17 00:02:12,879 --> 00:02:14,840 Speaker 5: Stay up out tonight. 18 00:02:18,000 --> 00:02:23,719 Speaker 2: Way you know bests not any us even one get 19 00:02:23,840 --> 00:02:25,759 you up in your model. 20 00:02:25,759 --> 00:02:27,599 Speaker 5: Another times the must to. 21 00:02:27,639 --> 00:03:33,120 Speaker 6: Stay out out to dins as. 22 00:03:33,080 --> 00:03:49,280 Speaker 5: The dots the kiss last, the stays stay ste. 23 00:03:53,599 --> 00:03:56,520 Speaker 7: That's ass the story. 24 00:04:18,399 --> 00:04:18,800 Speaker 8: I love it. 25 00:04:18,839 --> 00:04:21,680 Speaker 9: That is not giving up. The band is the Forensics, 26 00:04:22,279 --> 00:04:26,199 and the Forensics is our featured artist in this hour 27 00:04:26,560 --> 00:04:28,920 we're going to speak with. At least we got one 28 00:04:28,959 --> 00:04:31,519 of the guys I think on with us via Microsoft 29 00:04:31,600 --> 00:04:33,639 teams and we're gonna speak with them in just a moment. 30 00:04:33,720 --> 00:04:36,519 But welcome everybody. This is our number three New Marrow 31 00:04:36,639 --> 00:04:39,920 trace of Matt Connorton Unleashed. If you are listening live 32 00:04:39,959 --> 00:04:44,000 on Saturday today is December sixth, twenty twenty five. We 33 00:04:44,079 --> 00:04:47,639 are live from the studios of wm NH ninety five 34 00:04:47,720 --> 00:04:50,959 point three FM in Glorious Manchester, New Hampshire. Of course, 35 00:04:51,000 --> 00:04:52,600 you can stream the show from anywhere. Go to Matt 36 00:04:52,720 --> 00:04:55,959 connorton dot com slash live for all your live streaming options, 37 00:04:56,079 --> 00:04:59,800 social media links, contact info, show archives, et cetera, at 38 00:05:00,000 --> 00:05:02,519 et cetera. And let's see. I think we've got Jordan 39 00:05:02,680 --> 00:05:04,600 King from the band on the line with us. 40 00:05:04,639 --> 00:05:07,560 Speaker 10: Hello, yes, hello, thank you for having me. 41 00:05:07,879 --> 00:05:11,879 Speaker 9: Absolutely welcome. I love that song and as I think 42 00:05:11,920 --> 00:05:13,680 you know too, the first single we had played from 43 00:05:13,720 --> 00:05:16,279 you guys was Maxine and I love that one too. 44 00:05:16,319 --> 00:05:18,439 We had that one in kind of heavy rotation around 45 00:05:18,480 --> 00:05:21,319 here for a while, but but I love this track, 46 00:05:21,480 --> 00:05:23,959 not giving Up. It's really good. When did this come out? 47 00:05:25,519 --> 00:05:28,000 Speaker 10: This has only really been out a week, I believe, 48 00:05:28,160 --> 00:05:29,319 so not too long at all. 49 00:05:30,120 --> 00:05:35,600 Speaker 9: Very new. Yeah's depressed outstanding now Jordan, Is it just you? 50 00:05:35,720 --> 00:05:36,560 Rs anybody with you? 51 00:05:37,439 --> 00:05:40,639 Speaker 10: It's just myself today, Yeah, yeah, yeah, I don't know 52 00:05:40,680 --> 00:05:41,759 what the rest of the guys are doing. 53 00:05:42,199 --> 00:05:44,319 Speaker 9: That's all right. Sometimes less is more. Sometimes we get 54 00:05:44,319 --> 00:05:46,399 you know, a bunch of people on teams and it's, uh, 55 00:05:46,720 --> 00:05:51,000 it becomes confusing. So we're happy to have you. Now, 56 00:05:51,240 --> 00:05:52,240 what do you do in the band? 57 00:05:53,319 --> 00:05:56,360 Speaker 10: So I'm the lead guitarist. Okay, So all the little 58 00:05:56,879 --> 00:06:00,560 riffs and stuff you heard in that track was cut myself. 59 00:06:00,720 --> 00:06:02,079 Speaker 8: So yeah, excellent. 60 00:06:02,240 --> 00:06:04,800 Speaker 9: What I want to ask you too about is there's 61 00:06:04,839 --> 00:06:08,600 a surprise in that song because when you listen to it, 62 00:06:08,800 --> 00:06:12,000 you don't really expect, especially you know, hearing your other songs, 63 00:06:12,720 --> 00:06:16,120 when that saxophone comes in, you don't see that coming, 64 00:06:16,199 --> 00:06:17,759 or perhaps I should say, you don't hear that coming. 65 00:06:17,920 --> 00:06:20,079 But it fits a song perfectly. I mean, it works 66 00:06:20,160 --> 00:06:23,279 really well. But it's a surprise the first time you 67 00:06:23,360 --> 00:06:26,920 listen to the song. Do one of you guys in 68 00:06:27,000 --> 00:06:29,079 the band play the sacks or did you bring in 69 00:06:29,160 --> 00:06:31,639 somebody outside to do that, or how did that come about. 70 00:06:32,439 --> 00:06:34,720 Speaker 10: I'm glad that you say it was a surprise. That 71 00:06:34,920 --> 00:06:37,480 was kind of the idea. So none of us play saxophone. 72 00:06:37,560 --> 00:06:40,480 The where that came from. It was an idea for myself. 73 00:06:40,560 --> 00:06:43,439 So we were sat in the studio. I got the 74 00:06:43,600 --> 00:06:46,319 lead guitar part down for the breakdown at the end 75 00:06:46,360 --> 00:06:49,120 of the track, and I just thought it was missing something. 76 00:06:49,560 --> 00:06:52,800 And I've always liked, you know, brass instruments, et cetera. 77 00:06:52,959 --> 00:06:56,600 One of my favorite pieces of music is Baker Street. 78 00:06:56,879 --> 00:06:58,959 I love the sax on that piece of music. Yes, 79 00:07:00,079 --> 00:07:02,000 you know, I wonder if a sax would fit in here. 80 00:07:02,120 --> 00:07:04,720 So we went externally, brought someone in to do it, 81 00:07:04,839 --> 00:07:07,000 and know it's on the track now. 82 00:07:06,959 --> 00:07:10,600 Speaker 9: So that's fantastic. Yeah, no, it fits perfectly. Baker's Street 83 00:07:10,680 --> 00:07:12,079 is a great example too of where you can do 84 00:07:12,199 --> 00:07:16,720 that really effectively. But when you do that, so what 85 00:07:16,800 --> 00:07:18,680 happens when you do that song live? Or have you 86 00:07:18,759 --> 00:07:19,720 played that song live? 87 00:07:20,600 --> 00:07:22,639 Speaker 10: So we've been playing that song live for about a 88 00:07:22,759 --> 00:07:27,079 year now. I think obviously as a small band, it's 89 00:07:27,360 --> 00:07:30,279 difficult to get someone on board that plays saxophone, so 90 00:07:30,600 --> 00:07:33,319 we play it slightly different live. It's a lot heavier live, 91 00:07:33,600 --> 00:07:37,480 more guitar driven. Obviously, the am eventually would be to 92 00:07:37,759 --> 00:07:39,920 have someone play that live with us with the sax 93 00:07:39,959 --> 00:07:42,319 that'd be pretty cool, but we can't do that at 94 00:07:42,319 --> 00:07:42,680 the moment. 95 00:07:43,279 --> 00:07:45,560 Speaker 9: At the same time, though, it must be kind of 96 00:07:45,639 --> 00:07:48,199 fun too to play it a different way live, just 97 00:07:48,279 --> 00:07:50,959 because it you know, I would guess it kind of 98 00:07:51,000 --> 00:07:53,600 keeps it fresh for you guys, right, you know, you're 99 00:07:53,680 --> 00:07:55,720 kind of it gives you some room to kind of 100 00:07:55,800 --> 00:07:58,519 experiment and only, like you said, maybe make it a 101 00:07:58,560 --> 00:08:01,439 little heavier live, you know, probably goes over well, I would. 102 00:08:01,279 --> 00:08:04,639 Speaker 10: Imagine, definitely. Yeah, that's the way we try to play 103 00:08:04,720 --> 00:08:07,439 live all the time. It keeps it fresh and exciting. 104 00:08:07,600 --> 00:08:10,839 We like to do things slightly different live, maybe extend 105 00:08:10,920 --> 00:08:13,600 tracks or One thing that we do often is we 106 00:08:13,759 --> 00:08:17,120 merge songs together. So we've got two new singles coming 107 00:08:17,160 --> 00:08:20,079 out next year, and when we play them live, they 108 00:08:20,199 --> 00:08:23,839 fade into each other live, which is quite cool. So yeah, 109 00:08:23,879 --> 00:08:25,720 we enjoy doing stuff like that when we perform. 110 00:08:26,040 --> 00:08:27,199 Speaker 9: Oh, excellent, excellent. 111 00:08:28,600 --> 00:08:29,639 Speaker 8: How long have you guys? 112 00:08:30,000 --> 00:08:32,759 Speaker 9: I mean it's it's been it's been a few years, right, 113 00:08:32,879 --> 00:08:35,120 Like we we've just been getting to know you. I 114 00:08:35,200 --> 00:08:37,360 think May was when you were on before and is 115 00:08:37,399 --> 00:08:39,559 that around when Maxine came out? Because I love that 116 00:08:39,679 --> 00:08:40,960 song too, that's such a great track. 117 00:08:41,480 --> 00:08:43,840 Speaker 10: Yeah, that came out first half of this year. 118 00:08:44,000 --> 00:08:46,879 Speaker 9: Yeah, okay, okay, but have you guys been around since 119 00:08:46,879 --> 00:08:49,559 what twenty twenty one, twenty twenty two, or. 120 00:08:50,559 --> 00:08:54,799 Speaker 10: Man, time flies, doesn't it? Yeah that sounds about right. 121 00:08:54,960 --> 00:08:55,200 Speaker 4: Yeah. 122 00:08:55,399 --> 00:08:59,519 Speaker 10: So we formed originally me and my friend who's no 123 00:08:59,639 --> 00:09:02,399 longer with the band, so he was our first bassist. 124 00:09:03,120 --> 00:09:06,799 We met in the pub over a drink, decided we 125 00:09:06,879 --> 00:09:09,279 wanted to be in a band, and that's kind of 126 00:09:09,399 --> 00:09:11,879 how it came about. So me and him started writing 127 00:09:11,960 --> 00:09:15,440 some things. Then Liam, the lead singer joined. He'd played 128 00:09:15,440 --> 00:09:18,000 in a band previously with our drummer, so that kind 129 00:09:18,039 --> 00:09:20,240 of pulled things together. And yeah, it must have been 130 00:09:20,279 --> 00:09:22,879 nearly four years now, which is frightening. 131 00:09:23,440 --> 00:09:23,720 Speaker 8: Wow. 132 00:09:23,960 --> 00:09:28,759 Speaker 9: Yeah, no, the time does go quickly. Have you guys 133 00:09:28,879 --> 00:09:31,960 been you know, we talked a little bit about touchdown 134 00:09:32,000 --> 00:09:34,200 playing live. Have you guys been doing a lot of shows? 135 00:09:35,720 --> 00:09:35,960 Speaker 7: Yeah? 136 00:09:36,039 --> 00:09:38,799 Speaker 10: We usually gig quite a lot, although the back end 137 00:09:38,879 --> 00:09:41,480 of this year we've taken the foot off the gas 138 00:09:41,519 --> 00:09:45,600 a little bit and focused more on studio things. We 139 00:09:45,720 --> 00:09:47,559 want to get a few new tracks out next year 140 00:09:47,879 --> 00:09:50,399 after not giving up. That's just come out of course, 141 00:09:51,519 --> 00:09:53,879 and we're putting a big push on social media I 142 00:09:53,919 --> 00:09:55,559 think at the moment as well, to try and grow 143 00:09:55,600 --> 00:09:58,919 a bit of a stronger online presence. So we do 144 00:09:59,080 --> 00:10:02,840 have two shows like for the start of next year. Well, 145 00:10:03,000 --> 00:10:05,799 I guess we'll see what the new year brings, but yeah, 146 00:10:05,879 --> 00:10:08,519 a lot of focus on studio stuff at the moment 147 00:10:08,639 --> 00:10:09,480 and social media. 148 00:10:10,240 --> 00:10:13,559 Speaker 9: Where do you guys record? You know, I always like to, uh, 149 00:10:13,720 --> 00:10:15,879 I mean, I have a bit of an autoio engineering 150 00:10:15,919 --> 00:10:17,639 background myself, so I'm a little bit of a nerd 151 00:10:17,720 --> 00:10:19,919 for this kind of stuff. But I'm just curious because 152 00:10:19,919 --> 00:10:23,159 there's so many different ways to record now. You know, 153 00:10:23,240 --> 00:10:25,240 when I was growing I'm old enough to remember when 154 00:10:25,279 --> 00:10:28,399 basically your option was you you go to a studio 155 00:10:29,440 --> 00:10:32,240 or you know, you could maybe by yourself a little 156 00:10:32,320 --> 00:10:35,000 task scam recorder and make four track recordings at home 157 00:10:35,039 --> 00:10:38,440 and that was about it. But because it's obvious in 158 00:10:38,519 --> 00:10:40,799 listening to your music and talking with you that that 159 00:10:42,000 --> 00:10:44,840 sonically it's very important to get this right. You're you're 160 00:10:44,960 --> 00:10:50,720 you're clearly, you're every everything is very everything just sounds 161 00:10:50,799 --> 00:10:52,399 like you can you can just tell. You can tell 162 00:10:52,440 --> 00:10:54,279 by listening to your songs that you put a lot 163 00:10:54,759 --> 00:10:57,120 into not only the writing of the songs, but the 164 00:10:57,240 --> 00:11:01,240 recording of them, so you it certainly doesn't sound like 165 00:11:01,279 --> 00:11:04,480 a situation where you're just going to a studio for 166 00:11:04,559 --> 00:11:06,320 a day and spending a couple of hours and banging 167 00:11:06,320 --> 00:11:08,080 these out. I assume a lot goes into them. I 168 00:11:08,080 --> 00:11:09,759 don't know if you have a producer that you work 169 00:11:09,840 --> 00:11:12,000 with or tell me about the recording process. 170 00:11:12,679 --> 00:11:15,679 Speaker 10: Yeah, of course, yeah, And we love going in the studio. 171 00:11:16,039 --> 00:11:18,480 It's the favorite thing for all members of the band. 172 00:11:18,519 --> 00:11:21,480 I think they'd all agree of going into the studio. 173 00:11:21,639 --> 00:11:24,840 And you're completely right, it's not a case of going 174 00:11:24,919 --> 00:11:27,559 in and banging these out in a couple of hours. 175 00:11:27,600 --> 00:11:29,519 A lot of work goes into it. I think to 176 00:11:29,600 --> 00:11:33,200 give you an insight as to how we operate as 177 00:11:33,200 --> 00:11:36,759 a band, and this is very similar across bands of 178 00:11:36,879 --> 00:11:42,360 our size. Studio hire is very expensive for alongside hiring 179 00:11:42,399 --> 00:11:44,279 a producer as well, so a lot of the work 180 00:11:44,519 --> 00:11:47,879 actually comes pre studio. We do a lot of work 181 00:11:48,159 --> 00:11:51,480 in practice rooms beforehand. We'll kind of do our own 182 00:11:51,600 --> 00:11:55,240 mixes on our own software first. That's where a lot 183 00:11:55,279 --> 00:11:59,200 of the experiment experimental things come into play. Then we 184 00:11:59,279 --> 00:12:02,919 can go into this studio get the basic layer of 185 00:12:03,000 --> 00:12:05,960 the track down and then that gives us a lot 186 00:12:06,039 --> 00:12:09,279 of time to play around with other things and different 187 00:12:09,360 --> 00:12:12,519 sounds that you can't produce on your own outside of 188 00:12:12,559 --> 00:12:15,360 that studio environment. So that's the way that we tend 189 00:12:15,440 --> 00:12:17,679 to do it. So we probably get a track down, 190 00:12:18,039 --> 00:12:20,559 as you said, you bang it out in a few hours. 191 00:12:21,039 --> 00:12:24,039 But then because we've done all of that leg work beforehand, 192 00:12:24,440 --> 00:12:27,200 it gives us that freedom of expression, if you will, 193 00:12:27,240 --> 00:12:30,480 in the studio to try different things and maybe get 194 00:12:30,519 --> 00:12:33,480 different instruments in there, like the sax idea for example. 195 00:12:33,679 --> 00:12:36,600 And so that's how we tend to go about our recording, 196 00:12:36,639 --> 00:12:40,120 a lot of legwork beforehand, into the studio, get the 197 00:12:40,200 --> 00:12:43,360 track down, and then we can I don't think mess 198 00:12:43,399 --> 00:12:46,879 around is the right phrase. Yeah, sometimes it feels. 199 00:12:46,639 --> 00:12:47,679 Speaker 9: Like it, you know. 200 00:12:47,960 --> 00:12:49,759 Speaker 10: So that's how we tend to go about it. I 201 00:12:49,840 --> 00:12:52,360 think we recording a place called the Grand in Clytherill, 202 00:12:53,039 --> 00:12:57,720 which actually has a huge stage attached to it, which 203 00:12:57,799 --> 00:13:02,000 is awesome. We've played that live which was really cool. Yeah, 204 00:13:02,039 --> 00:13:04,360 it's a quite cool venue. Actually it's in a place 205 00:13:04,399 --> 00:13:08,159 called Clitherow, which I appreciate. You got to state size. 206 00:13:08,240 --> 00:13:13,159 So it's about forty minutes drive from Manchester, okay, so 207 00:13:13,799 --> 00:13:15,240 not too. 208 00:13:14,639 --> 00:13:16,960 Speaker 9: Far away, not bad, No, And it's great that you 209 00:13:17,039 --> 00:13:19,039 go there prepared. You know, you can save a lot 210 00:13:19,080 --> 00:13:25,759 of time and money if you're well prepared going to 211 00:13:25,840 --> 00:13:28,399 the studio. Yeah, it's cool too that it's got a 212 00:13:28,480 --> 00:13:31,679 venue there as well. I don't know why. I mean, 213 00:13:32,759 --> 00:13:36,080 there's definitely examples here of places like that, but I 214 00:13:36,120 --> 00:13:37,840 can't think of any off the top of my head 215 00:13:37,919 --> 00:13:40,519 where you know, there's a recording studio and there's a 216 00:13:40,559 --> 00:13:42,320 stage and they you know, and it kind of works 217 00:13:42,360 --> 00:13:46,360 as both a studio and a venue. It's such a 218 00:13:46,480 --> 00:13:48,639 it's such a great concept and it seems so obvious, 219 00:13:48,759 --> 00:13:54,919 but it's probably a lot to do correctly. But I wish, like, 220 00:13:55,120 --> 00:13:56,679 like I said, I know this place is like that 221 00:13:56,759 --> 00:13:58,720 here too. I just can't think of many. I can't 222 00:13:58,720 --> 00:14:00,279 think of any off the top of my head. But 223 00:14:01,120 --> 00:14:03,240 have you been have you always worked like from the 224 00:14:03,279 --> 00:14:05,720 beginning of this project, has it always been the same studio? 225 00:14:07,639 --> 00:14:07,679 Speaker 6: No? 226 00:14:07,919 --> 00:14:11,360 Speaker 10: So we recorded a different studio once and this was 227 00:14:11,399 --> 00:14:13,480 a long time ago to when our first single came out, 228 00:14:13,519 --> 00:14:17,039 so I actually can't recall what the name was. It was. 229 00:14:17,360 --> 00:14:20,679 It was somewhere near Warrington, but I don't know. And 230 00:14:20,840 --> 00:14:25,679 then since then there was another place I believe in 231 00:14:25,799 --> 00:14:29,519 clude Throw that we recorded in, and then so yeah, 232 00:14:29,679 --> 00:14:31,639 we're recorded in quite a few actually, now I think 233 00:14:31,720 --> 00:14:35,879 about it. One studio was particularly cool because the studio 234 00:14:36,080 --> 00:14:38,200 was right at the top of a three story building 235 00:14:38,639 --> 00:14:40,759 and the first floor had a bar, so it was great. 236 00:14:40,919 --> 00:14:43,559 So once you've done, once you've done, let's say i'd 237 00:14:43,600 --> 00:14:45,759 finished my guitar part, so I don't have to sit 238 00:14:45,840 --> 00:14:49,360 and listen to Dan bash on the drums or le 239 00:14:49,480 --> 00:14:51,840 and du vocals, I can slip away and grab myself 240 00:14:51,919 --> 00:14:53,960 a beer and then come back in a few hours 241 00:14:54,039 --> 00:14:55,799 time and see what they've cracked on with, which was 242 00:14:55,840 --> 00:14:58,320 quite a cool setup. So right, I liked that place, 243 00:14:58,399 --> 00:14:58,879 so it was cool. 244 00:14:59,000 --> 00:14:59,600 Speaker 9: Oh that's cool. 245 00:14:59,720 --> 00:15:00,200 Speaker 8: That's well. 246 00:15:01,279 --> 00:15:03,759 Speaker 9: I'm sure I've asked you this before. I think the 247 00:15:04,080 --> 00:15:05,879 last time you were on. I'm pretty sure I asked, 248 00:15:05,919 --> 00:15:08,159 but I don't remember what the answer was. And you know, 249 00:15:08,240 --> 00:15:10,240 obviously we have newer listeners who aren't familiar with you. 250 00:15:10,360 --> 00:15:10,480 Speaker 10: Yet. 251 00:15:10,639 --> 00:15:13,080 Speaker 9: Where does the name come from the forensics. 252 00:15:14,200 --> 00:15:18,799 Speaker 10: That's a really good question. I'm actually not undred percential myself. 253 00:15:18,960 --> 00:15:21,360 I'm completely honest with you. We've had that name for 254 00:15:21,399 --> 00:15:24,440 a good number of years. I think we just who 255 00:15:24,840 --> 00:15:28,919 I think it might have been Liam's idea, and obviously 256 00:15:29,000 --> 00:15:31,080 he's not with us today, so I actually don't know 257 00:15:31,159 --> 00:15:34,279 where it came from. Obviously, forensics has that tie into 258 00:15:34,879 --> 00:15:38,519 police work and that kind of stuff, but we've never 259 00:15:39,000 --> 00:15:41,519 We did a bit of that stuff for Maxine. When 260 00:15:41,559 --> 00:15:45,320 we released Maxine, some of our artwork was was in 261 00:15:45,440 --> 00:15:48,720 forensic suits and we have played we have played live 262 00:15:48,799 --> 00:15:51,799 in forensic suits as well, which is quite cool. But 263 00:15:52,320 --> 00:15:54,759 by gosh, did they get warm halfway through a show? 264 00:15:55,080 --> 00:15:56,679 Really likes pointing at you? 265 00:15:57,440 --> 00:15:58,399 Speaker 9: Yeah, I can imagine. 266 00:15:58,440 --> 00:16:00,519 Speaker 10: But as far as the name goes, I don't know 267 00:16:00,600 --> 00:16:02,759 where it came from. But when someone pitched the idea 268 00:16:02,840 --> 00:16:05,759 forensics to me, I just thought, yeah, it's pretty cool. Yeah, 269 00:16:05,840 --> 00:16:09,600 And then the fingerprint as the logo, I thought, yeah, 270 00:16:09,679 --> 00:16:12,000 that's quite cool as well. So where it comes from, 271 00:16:12,159 --> 00:16:14,480 I have no idea, but I quite like it. 272 00:16:14,840 --> 00:16:17,600 Speaker 9: Yeah, No, it's excellent. Is that the name that the 273 00:16:17,679 --> 00:16:18,960 band had right from the beginning. 274 00:16:19,759 --> 00:16:23,720 Speaker 10: So we were originally called Riley James and the Summer 275 00:16:23,799 --> 00:16:28,080 Tones because Liam was a solo artist before he joined 276 00:16:28,120 --> 00:16:31,120 the band, so we played a lot of his solo 277 00:16:31,240 --> 00:16:34,639 stuff as a band when we initially came together, so 278 00:16:34,720 --> 00:16:37,440 it was called Riley James. That was his single stuff, 279 00:16:37,720 --> 00:16:39,759 and the Summer Tones was the idea for the rest 280 00:16:39,799 --> 00:16:42,080 of the band. But eventually I think we all came 281 00:16:42,159 --> 00:16:45,320 together and thought, no, we want to write music as 282 00:16:45,360 --> 00:16:48,200 a band, and if we're going to do that, you know, 283 00:16:48,279 --> 00:16:50,840 we need to have a defined name, and so we 284 00:16:50,960 --> 00:16:52,120 decided on the Forensics. 285 00:16:53,080 --> 00:16:54,960 Speaker 9: Was that challenging at all for Liam? I mean, not 286 00:16:55,240 --> 00:16:56,879 that you want to speak for him, I'm sure, but 287 00:16:57,039 --> 00:17:00,039 I'm just curious because that's obviously an adjustment. 288 00:16:59,679 --> 00:17:02,200 Speaker 10: For him, right, I think it was and adjustment. 289 00:17:02,279 --> 00:17:02,480 Speaker 4: Yeah. 290 00:17:02,639 --> 00:17:04,720 Speaker 10: I don't think he struggled with it. I think it 291 00:17:04,880 --> 00:17:07,599 was a conversation that happened over a good number of weeks. 292 00:17:07,680 --> 00:17:09,519 There was a bit of back and forth, of course, 293 00:17:09,640 --> 00:17:12,200 on which way we wanted to take the band. I 294 00:17:12,319 --> 00:17:15,119 think looking back now over the years, it was certainly 295 00:17:15,200 --> 00:17:17,720 the right decision, and I think we've got a really 296 00:17:18,640 --> 00:17:21,480 unique sound now as a band. It's interesting to watch 297 00:17:21,559 --> 00:17:24,920 how we progress from what you could define as quite 298 00:17:25,079 --> 00:17:29,400 light indie pop to almost rocky in a sense, which 299 00:17:29,440 --> 00:17:32,359 is quite a cool development. Yeah, and I don't think 300 00:17:32,440 --> 00:17:35,200 that would have happened if it was driven by one individual. 301 00:17:35,319 --> 00:17:38,440 I think that's because as a group we have very 302 00:17:39,079 --> 00:17:43,359 unique and individual inspirations, which when you put them all together, 303 00:17:44,559 --> 00:17:46,200 is quite a good recipe. 304 00:17:46,359 --> 00:17:51,880 Speaker 9: So yeah, absolutely, absolutely, so yeah, so not giving up 305 00:17:52,000 --> 00:17:54,799 is really new. And then what's kind of the do 306 00:17:54,880 --> 00:17:56,480 you know when the next single is going to be 307 00:17:56,960 --> 00:18:02,240 or what's kind of the forward? Tragic as far as 308 00:18:02,519 --> 00:18:04,839 because I assume, I mean, it strikes me that you 309 00:18:04,880 --> 00:18:08,400 guys probably have a lot of ideas in the band. 310 00:18:08,480 --> 00:18:10,880 I mean you're probably always writing, I would guess. 311 00:18:11,720 --> 00:18:15,559 Speaker 10: Always writing. Yeah, many many songs. If we jumped into 312 00:18:15,599 --> 00:18:19,079 the studio tomorrow and had unlimited time. I think we 313 00:18:19,200 --> 00:18:22,039 have about ten tracks right now that we could record. 314 00:18:22,640 --> 00:18:25,839 So obviously a lot of that makes up our live performances, 315 00:18:26,960 --> 00:18:29,519 which is it keeps it fresh as well, because you 316 00:18:29,599 --> 00:18:32,000 can rotate songs in and out, so you never get 317 00:18:32,079 --> 00:18:36,279 bored of the tracks you're playing with. Regards to future plans, 318 00:18:37,359 --> 00:18:39,839 unconfirmed as to when we're going to release them, but 319 00:18:40,000 --> 00:18:43,160 we are in the studio in two weeks time to 320 00:18:43,359 --> 00:18:46,200 finish off three tracks that we got down a few 321 00:18:46,279 --> 00:18:48,839 months ago. Oh so we went went to the studio 322 00:18:48,880 --> 00:18:52,279 a few months back, got three quarters of them done, 323 00:18:52,279 --> 00:18:54,599 I would say. So we're going back in two weeks 324 00:18:54,640 --> 00:18:58,759 to get vocals and lead guitar finished, which I'm excited for. 325 00:18:59,640 --> 00:19:01,359 When the will come out, I'm not too sure, but 326 00:19:01,440 --> 00:19:04,279 there's three singles that within two weeks time should be 327 00:19:04,440 --> 00:19:08,119 pretty close to to mastard and ready for release. 328 00:19:08,440 --> 00:19:13,119 Speaker 9: Oh fantastic, Yeah, no, I can't can't wait to hear them. Man, 329 00:19:13,200 --> 00:19:15,079 you know, we we'd love to continue to be sort 330 00:19:15,119 --> 00:19:18,119 of your your conduit here into the American radio market 331 00:19:18,160 --> 00:19:21,240 because we love what you're doing. I remember the response 332 00:19:21,279 --> 00:19:24,480 that we got when we played Maxine for the first time, 333 00:19:24,559 --> 00:19:26,359 and we you know, we heard a lot of positive 334 00:19:26,359 --> 00:19:28,599 response on that here. It's such a great song, gets 335 00:19:28,720 --> 00:19:31,359 really gets stuck in your head. You know, it's so good, 336 00:19:32,519 --> 00:19:34,839 so so absolutely love it. And then so are you 337 00:19:35,200 --> 00:19:38,799 are you do you have live shows like this weekend. 338 00:19:38,559 --> 00:19:43,119 Speaker 10: Or no, not this weekend. So we're not doing any 339 00:19:43,200 --> 00:19:46,880 live shows now until next year. Okay, So I think 340 00:19:46,960 --> 00:19:49,799 our first show is April. I think the main focus 341 00:19:50,039 --> 00:19:52,839 is get in the studio, get these tracks finished, and 342 00:19:52,920 --> 00:19:55,359 then figure out a release schedule for them, you know, 343 00:19:55,480 --> 00:19:59,599 understanding what we want to do for social media promotion 344 00:20:00,279 --> 00:20:04,319 and vinyl pressing and that kind of stuff, So I 345 00:20:04,400 --> 00:20:06,720 think that'll be our main focus for the next few months. 346 00:20:07,119 --> 00:20:10,799 Speaker 9: Yeah, that makes a lot of sense. Absolutely absolutely well Jordan, 347 00:20:11,160 --> 00:20:13,880 you know, we appreciate you joining us, love the new track, 348 00:20:13,960 --> 00:20:16,079 not giving up and in a moment, well, like I said, 349 00:20:16,119 --> 00:20:21,480 we'll end the conversation with Maxine, another great song. Where's 350 00:20:21,559 --> 00:20:23,480 the best place for people to go online to keep 351 00:20:23,559 --> 00:20:25,359 up with everything that the Forensics is doing? 352 00:20:26,359 --> 00:20:29,720 Speaker 10: So the best place to find us for understanding a 353 00:20:29,759 --> 00:20:32,960 bit more about us on a personal level is definitely TikTok. 354 00:20:33,160 --> 00:20:36,880 So that's just at Forensics Band. Find us on TikTok. 355 00:20:37,200 --> 00:20:40,880 We post on their very regularly once a day probably. 356 00:20:41,240 --> 00:20:46,640 If you want more official updates, gigs, single releases, all 357 00:20:46,720 --> 00:20:49,920 that kind of good stuff, Instagram's probably the best place 358 00:20:50,000 --> 00:20:52,279 for that. That would be the same handle that would 359 00:20:52,279 --> 00:20:57,000 be at Forensics Band. So either of them Facebook not Facebook, 360 00:20:57,000 --> 00:20:59,519 So I didn't mention that Instagram or TikTok would be 361 00:20:59,559 --> 00:21:00,000 the best place. 362 00:21:00,960 --> 00:21:04,000 Speaker 9: Okay, wonderful, wonderful, Well, Jordan, thank you again so much. 363 00:21:04,079 --> 00:21:06,920 We'll let you go and we're gonna hit this track, Maxine. 364 00:21:07,039 --> 00:21:10,200 But we appreciate you talking with us today and we'll 365 00:21:10,240 --> 00:21:11,680 definitely do it again in the future. And you know, 366 00:21:12,000 --> 00:21:14,279 like I said, whenever the next single's ready, we'll we'll 367 00:21:14,319 --> 00:21:16,160 have you back on and we'll we'd love to do 368 00:21:16,240 --> 00:21:18,920 the American radio premiere here and keep up the great work. 369 00:21:19,000 --> 00:21:20,200 We're big fans here. 370 00:21:21,000 --> 00:21:22,920 Speaker 10: Yeah, for sure. No, I appreciate it. Thank you very 371 00:21:23,000 --> 00:21:25,000 much for having me. It's great to shot. 372 00:21:24,920 --> 00:21:27,599 Speaker 9: All right, Jordan, thank you, take care, thanks you too, 373 00:21:27,640 --> 00:21:30,640 Bye bye bye bye. All right. That is Jordan from 374 00:21:30,680 --> 00:21:34,160 the band The Forensics, and we're gonna play now the 375 00:21:34,400 --> 00:21:37,400 first single that we played from the band here on 376 00:21:37,480 --> 00:21:39,359 the show again. This is a personal favorite of mine. 377 00:21:39,359 --> 00:21:41,440 I know Jenny really loves this one too. This is 378 00:21:41,480 --> 00:21:44,440 called Maxine and the band is The Forensics. 379 00:21:47,000 --> 00:21:53,519 Speaker 3: Just ge't again on the places where we've been, and 380 00:21:53,720 --> 00:21:55,680 I just get a ready all. 381 00:21:55,559 --> 00:22:02,200 Speaker 5: The things out we have seen. No at you away, 382 00:22:02,319 --> 00:22:04,759 because I've seen you with my dreams. 383 00:22:06,920 --> 00:22:07,920 Speaker 8: Oh please not. 384 00:22:08,400 --> 00:22:12,240 Speaker 5: I see sat near free. 385 00:22:41,400 --> 00:22:46,920 Speaker 2: Gody fish swimming against the side. 386 00:22:48,279 --> 00:22:50,079 Speaker 5: The morning rings mean. 387 00:22:50,079 --> 00:22:54,279 Speaker 7: Green sleeves, us wondering why. 388 00:22:55,759 --> 00:23:01,400 Speaker 2: Mess by decrease and stee averring things something. 389 00:23:02,599 --> 00:23:04,039 Speaker 5: It's an even. 390 00:23:04,039 --> 00:23:04,400 Speaker 4: Don't we. 391 00:23:06,440 --> 00:23:07,880 Speaker 6: That so being said? 392 00:23:08,160 --> 00:23:12,960 Speaker 11: Li tells gut Age then he said, its loving these things. 393 00:23:15,839 --> 00:23:19,960 Then I'll try to step away some things. We have scenes, 394 00:23:23,000 --> 00:23:27,839 No you say the teams. 395 00:23:29,279 --> 00:23:31,400 Speaker 5: Go please are Class. 396 00:23:33,279 --> 00:23:37,839 Speaker 7: Seven scene. 397 00:23:44,920 --> 00:23:55,000 Speaker 6: See standing around the ceiling. 398 00:23:56,319 --> 00:24:01,759 Speaker 5: You feel like it's all boom. You bought those Acevenings. 399 00:24:03,519 --> 00:24:04,480 Speaker 4: They still there. 400 00:24:04,640 --> 00:24:05,880 Speaker 6: They know soun. 401 00:24:07,160 --> 00:24:12,319 Speaker 5: You wet un slee and this house says day bout. 402 00:24:14,240 --> 00:24:19,799 Speaker 4: Some say the Leadings got away your mess, and no. 403 00:24:23,000 --> 00:24:46,319 Speaker 7: Say seven free. 404 00:24:49,200 --> 00:25:51,279 Speaker 4: Se say. 405 00:25:51,039 --> 00:25:53,200 Speaker 9: I love that track so much. That is Maxie. The 406 00:25:53,319 --> 00:25:56,640 band is the Forensics. I love that band so much too, 407 00:25:56,720 --> 00:25:59,440 so I'm gonna play one more from them. This track 408 00:25:59,559 --> 00:26:03,799 is called LSF and this is the Forensic and Forensics sorry, 409 00:26:04,200 --> 00:26:07,039 and then after that we're gonna come back in a 410 00:26:07,119 --> 00:26:11,680 little bit of interesting music news actually uh music, Well 411 00:26:12,079 --> 00:26:15,440 you'll it's interesting. I'll just leave it at that. That's 412 00:26:15,480 --> 00:26:18,680 my teaser, uh that we will come back and tackle 413 00:26:19,480 --> 00:26:22,119 just briefly after this track. But here it is. This 414 00:26:22,240 --> 00:26:25,039 is the Forensics. One more for you. This is called LSF. 415 00:26:25,160 --> 00:26:45,559 Speaker 8: This is a great songs. 416 00:26:46,519 --> 00:26:48,599 Speaker 5: I'm interestingly. 417 00:26:49,720 --> 00:26:54,920 Speaker 2: Elexnic Certifika. 418 00:26:55,359 --> 00:27:08,240 Speaker 5: I'm waiting, go on it, get on it. 419 00:27:08,680 --> 00:27:13,759 Speaker 12: I'm traving through a Bamba Nada, black Ussis and Bishops. 420 00:27:13,799 --> 00:27:18,960 I just said, we go on it electronics, houllify across 421 00:27:19,000 --> 00:27:23,319 the shoot the boss all by messigh your body. 422 00:27:38,119 --> 00:27:38,839 Speaker 6: We come. 423 00:28:00,880 --> 00:28:04,119 Speaker 4: Scald this celi fire know. 424 00:28:04,279 --> 00:28:06,119 Speaker 8: What need it. It's closer. 425 00:28:06,480 --> 00:28:08,160 Speaker 7: I'm saying to stand and I. 426 00:28:08,200 --> 00:28:11,319 Speaker 5: Don'tmost step out likening this, you. 427 00:28:11,480 --> 00:28:17,400 Speaker 12: Sell fire the deeper, the sleepert besideing fen. 428 00:28:31,440 --> 00:28:49,319 Speaker 6: We we. 429 00:28:57,319 --> 00:29:34,160 Speaker 5: Set s. 430 00:30:00,640 --> 00:30:01,279 Speaker 10: S S. 431 00:30:17,319 --> 00:30:17,359 Speaker 6: S. 432 00:31:04,839 --> 00:31:09,440 Speaker 1: You're listening to Matt Connorton Unleashed on WM and H 433 00:31:09,640 --> 00:31:10,920 ninety five point three. 434 00:31:18,519 --> 00:31:21,480 Speaker 9: Hey, everybody, you are listening to Matt Connorton Unleashed, and 435 00:31:21,599 --> 00:31:25,519 we are live from the studios of wm NH ninety 436 00:31:25,559 --> 00:31:29,000 five point three FM and Glorious Manchester, New Hampshire. Of course, 437 00:31:29,039 --> 00:31:31,039 you can stream the show from anywhere. Go to Matt 438 00:31:31,079 --> 00:31:34,640 connorton dot com slash live for all your live streaming options, 439 00:31:34,720 --> 00:31:38,480 social media links, contact info, show archives, et cetera, et cetera. 440 00:31:38,720 --> 00:31:40,400 I do want to thank everyone who has joined us 441 00:31:40,440 --> 00:31:42,119 on the show today, for those of you listening live 442 00:31:42,200 --> 00:31:44,480 on Saturday. Of course, in the first hour we had 443 00:31:44,599 --> 00:31:47,680 Rob critch Lee from the band The Fods, and we're 444 00:31:47,720 --> 00:31:49,279 actually going to close out the show in just a 445 00:31:49,319 --> 00:31:52,480 few minutes with another track from The Fods. In the 446 00:31:52,519 --> 00:31:54,839 second hour, let's see. In the second hour, of course, 447 00:31:54,839 --> 00:31:57,200 we had the guys from Baron Kismo love their new 448 00:31:57,319 --> 00:32:00,200 single Easy that just came out pretty recently. We did 449 00:32:00,240 --> 00:32:02,519 the American radio premiere for that on the show I 450 00:32:02,559 --> 00:32:04,160 think a week or two ago. It becomes a bit 451 00:32:04,200 --> 00:32:06,880 of a blur, but love talking to those guys. And 452 00:32:06,960 --> 00:32:09,240 then of course we talked with Jordan from the band 453 00:32:09,359 --> 00:32:12,559 The Forensics. We just heard two songs from the Forensics 454 00:32:12,640 --> 00:32:16,319 to close out that conversation, Max Scene their first single 455 00:32:16,440 --> 00:32:17,160 and LSF. 456 00:32:17,240 --> 00:32:17,599 Speaker 8: And then we. 457 00:32:19,240 --> 00:32:22,160 Speaker 9: Had a great conversation with Jordan. So love that band. 458 00:32:23,799 --> 00:32:26,480 Right now though, since we have time, a little bit 459 00:32:26,480 --> 00:32:32,039 of music news, but this particular item, this news item 460 00:32:32,440 --> 00:32:36,720 actually combines well, we could do this on two different shows. 461 00:32:38,200 --> 00:32:41,759 This is appropriate for Matt connorton Unleashed because we do 462 00:32:42,359 --> 00:32:44,599 talk about things going on in the music industry on 463 00:32:44,720 --> 00:32:48,480 this show. I also, of course host along with our 464 00:32:48,519 --> 00:32:52,720 friend Eric Pilcher, the podcast called Tough Bumps, which is 465 00:32:52,759 --> 00:32:55,279 about wrestling, and we do that on the weekend. We'll 466 00:32:55,319 --> 00:32:59,000 probably do one this weekend sometime on Sunday. That is 467 00:32:59,359 --> 00:33:02,200 completely effort from WM ANDH. Of course, that is strictly 468 00:33:02,240 --> 00:33:04,519 a podcast. You can find it on the IPM Nation 469 00:33:04,640 --> 00:33:07,319 YouTube channel. We share it out on Facebook and everywhere 470 00:33:07,319 --> 00:33:09,680 else so and you can subscribe to it on your 471 00:33:09,960 --> 00:33:14,559 podcast platform of choice. Please subscribe to the Tough Bumps podcast. 472 00:33:14,599 --> 00:33:16,720 We would love your support, So we do that every 473 00:33:16,720 --> 00:33:21,359 weekend and this particular news item. So we're gonna talk 474 00:33:21,359 --> 00:33:23,039 about this now, but we might also talk about it 475 00:33:23,119 --> 00:33:27,160 on Tough Pumps with Eric. This is from Billboard. John 476 00:33:27,319 --> 00:33:32,240 Cena hit with lawsuit over famed horns sample in theme 477 00:33:32,400 --> 00:33:36,599 song The Time Is Now. The WWE wrestler turned movie 478 00:33:36,680 --> 00:33:40,720 star is facing legal claims that the intro to his 479 00:33:40,880 --> 00:33:43,480 theme song is based on a sample of a nineteen 480 00:33:43,599 --> 00:33:48,680 seventy four recording that was never properly cleared. Now you 481 00:33:48,839 --> 00:33:50,880 hear about this, well, you don't hear about it nearly 482 00:33:50,920 --> 00:33:53,559 as much anymore because everyone's gotten a lot smarter about 483 00:33:53,559 --> 00:33:56,799 it legally. But you know, I remember growing up there 484 00:33:56,839 --> 00:33:59,960 were always stories about in hip hop, a hip hop 485 00:34:00,279 --> 00:34:03,720 artist releases a song, there's a sample in the song, 486 00:34:04,759 --> 00:34:07,000 very often from an early R and B song, or 487 00:34:07,359 --> 00:34:11,280 you know, it could be from anything. But so these 488 00:34:11,400 --> 00:34:14,360 artists would release this music, these hip hop songs with 489 00:34:14,559 --> 00:34:18,079 samples in them that were not cleared with the rights 490 00:34:18,119 --> 00:34:20,599 holder of whoever owns that audio, whether it be the 491 00:34:20,679 --> 00:34:23,960 original artist who did that song that the sample is 492 00:34:24,039 --> 00:34:28,199 taken from, or a record label or whomever. Right, so 493 00:34:28,840 --> 00:34:33,840 uncleared samples became a problem. And then you know, obviously 494 00:34:33,920 --> 00:34:35,960 there's been a lot of litigation about that over the years, 495 00:34:36,000 --> 00:34:39,199 and I think you don't really hear about that much today. 496 00:34:39,719 --> 00:34:42,079 That is a story that you heard a lot in 497 00:34:42,159 --> 00:34:45,199 the eighties and the nineties and even in the two thousands, 498 00:34:45,280 --> 00:34:47,519 But today you don't really hear a lot of stories 499 00:34:47,559 --> 00:34:50,480 about while this artist is getting sued because they have 500 00:34:50,519 --> 00:34:54,960 an uncleared sample on their song or on their album. 501 00:34:55,800 --> 00:35:00,440 But here now John Cena. Of course, John, he has 502 00:35:00,480 --> 00:35:03,000 become a mainstream celebrity. He is one of the celebrities. 503 00:35:03,159 --> 00:35:06,440 He's one of the wrestlers who professional wrestlers who's has 504 00:35:06,559 --> 00:35:10,360 transcended wrestling and gone on to be a mainstream celebrity. 505 00:35:10,480 --> 00:35:13,239 Obviously the biggest example of that being The Rock. The 506 00:35:13,400 --> 00:35:15,760 Rock one of the highest, if not the highest paid 507 00:35:15,800 --> 00:35:21,079 movie star in Hollywood who initially became famous because of wrestling. 508 00:35:21,119 --> 00:35:22,639 That's why we call him the Rock, even though his 509 00:35:22,679 --> 00:35:26,599 real name is Dwayne Johnson, Dwayne the Rock Johnson. But 510 00:35:28,000 --> 00:35:30,360 you know, he's the greatest example of that. And then 511 00:35:30,400 --> 00:35:33,480 of course there's other people who you know, hull Cogan 512 00:35:33,519 --> 00:35:36,719 who passed away not too long ago, hul Cogan, who 513 00:35:36,840 --> 00:35:40,519 did not find mainstream success in cinema. His movies were 514 00:35:40,880 --> 00:35:43,960 largely panned because of the films that he starred in. 515 00:35:44,480 --> 00:35:46,280 Not you know, I'm not talking about Rocky, I'm talking 516 00:35:46,320 --> 00:35:48,320 about the films where Hogan was actually the star are 517 00:35:48,360 --> 00:35:53,079 generally pretty awful. So but that doesn't change the fact 518 00:35:53,119 --> 00:35:56,960 that hul Cogan, despite not really finding success outside of 519 00:35:57,000 --> 00:36:00,559 professional wrestling, absolutely one of the most fas people on 520 00:36:00,639 --> 00:36:05,079 the planet. So, but John Cena has also Now John 521 00:36:05,119 --> 00:36:07,800 Cena is not he has not hit the stratosphere that 522 00:36:07,880 --> 00:36:10,800 the Rock has hit, of course, but John Cena very 523 00:36:10,840 --> 00:36:15,519 successful in Hollywood and has transcended professional wrestling. He also 524 00:36:17,599 --> 00:36:21,360 had and this was really sort of a part of 525 00:36:21,480 --> 00:36:24,760 his professional wrestling career. He did release an album. He 526 00:36:24,840 --> 00:36:29,039 has one hip hop album that he released on WWE's 527 00:36:29,159 --> 00:36:32,440 label at the time, and one of the tracks from 528 00:36:32,480 --> 00:36:36,039 that album is called the Time is Now, and the 529 00:36:36,159 --> 00:36:40,079 Time Is Now is the song that John Cena comes 530 00:36:40,119 --> 00:36:42,880 out to. Now. John Cena has also been in the news. 531 00:36:43,400 --> 00:36:44,760 When I say it comes out to I mean when 532 00:36:44,760 --> 00:36:46,960 he comes out of the entrance and goes to the ring. 533 00:36:47,360 --> 00:36:49,360 For people who are like, what if you're not a 534 00:36:49,480 --> 00:36:51,960 wrestling fan, you don't know that, So that's what I 535 00:36:52,039 --> 00:36:56,679 mean by come out to Now. John Cena also has 536 00:36:56,760 --> 00:36:59,960 been relevant within wrestling recently because he's on his retire 537 00:37:00,000 --> 00:37:04,119 Ironment tour. He's about to have his final wrestling match 538 00:37:04,239 --> 00:37:08,559 ever in the WWE, and you know, he's forty eight 539 00:37:08,679 --> 00:37:11,079 years old and this is it. He's going to commit 540 00:37:11,119 --> 00:37:16,480 to Hollywood full time, which makes sense. And of course 541 00:37:16,559 --> 00:37:19,639 there was the John Cena heel turn that happened a 542 00:37:19,760 --> 00:37:23,800 while back, which actually got a lot of mainstream media attention, 543 00:37:23,880 --> 00:37:26,920 even though it was part of a professional wrestling storyline, 544 00:37:27,360 --> 00:37:29,599 but it was such a big deal that the mainstream 545 00:37:29,639 --> 00:37:32,239 media paid attention to it. So a lot of interesting 546 00:37:32,320 --> 00:37:34,199 things in a heel turn. Again, for people who don't know, 547 00:37:34,280 --> 00:37:36,599 that's when a good guy becomes a bad guy. So 548 00:37:36,760 --> 00:37:41,039 John Cena during his final year in WWE became for 549 00:37:41,159 --> 00:37:43,639 a short time, he became a bad guy. He became 550 00:37:43,679 --> 00:37:46,320 a villain, which I thought was very entertaining, but not 551 00:37:46,400 --> 00:37:49,880 everyone liked it. But anyway, So John Cena is pretty 552 00:37:49,920 --> 00:37:53,840 relevant these days on multiple levels. He just apparently he 553 00:37:54,000 --> 00:37:58,679 just was on the Joe Rogan podcast Joe Rogan. I mean, 554 00:37:58,760 --> 00:38:00,559 I know his stock has fallen a little bit, but 555 00:38:00,679 --> 00:38:03,559 he's still one of the if not the biggest podcasts 556 00:38:03,599 --> 00:38:05,400 in the world. And Johnsena was just on there. So 557 00:38:05,760 --> 00:38:08,840 so John Cene is very relevant right now. But this 558 00:38:09,079 --> 00:38:12,960 theme song that he's been using for twenty years, apparently 559 00:38:13,079 --> 00:38:16,760 there is a problem with the sample the horn section. 560 00:38:17,159 --> 00:38:20,719 Now I should what I'll do is I should have 561 00:38:20,880 --> 00:38:24,280 had this ready, but let me grab his theme song, 562 00:38:24,440 --> 00:38:27,480 The Time is Now. I think he says in the 563 00:38:27,559 --> 00:38:30,159 song you can't see me the Time is Now, because 564 00:38:30,199 --> 00:38:33,280 that's you know, his thing too, you can't see me? Okay. 565 00:38:34,199 --> 00:38:35,800 I thought it was called My Time is Now, but 566 00:38:35,880 --> 00:38:38,719 apparently it's actually called the Time is Now. So there's 567 00:38:38,880 --> 00:38:40,960 there's horns in it, even though it's a hip hop song. 568 00:38:42,199 --> 00:38:44,239 Let's see here it is the Time is Now. I'll 569 00:38:44,320 --> 00:38:46,159 just play a little bit of it for you. Why 570 00:38:46,199 --> 00:38:48,519 does this have a parental advisory on it? There's no? Uh, 571 00:38:48,920 --> 00:38:50,599 all right, well, here's definitely a clean version. I was 572 00:38:50,639 --> 00:38:52,079 gonna say, I don't think there's any swears in it. 573 00:38:52,400 --> 00:38:55,960 Here's a clean this. This one's definitely clean though, except 574 00:38:56,000 --> 00:38:57,960 there might be a commercial to sit through before I 575 00:38:58,039 --> 00:39:00,559 play this. But just so if you're not familiar with 576 00:39:00,639 --> 00:39:06,039 the song, So you can hear the horns, I don't 577 00:39:06,039 --> 00:39:11,880 hear anything. Oh, here we go. Hang on, all right, 578 00:39:11,880 --> 00:39:24,960 here it comes. You can hear the horns right, Your 579 00:39:25,079 --> 00:39:31,280 time now? Okay, So he actually does say my time 580 00:39:31,400 --> 00:39:33,440 is now, but the song is called the Time is Now. 581 00:39:34,000 --> 00:39:40,039 All right, let's pause that. Uh so there's an uncleared 582 00:39:40,039 --> 00:39:45,079 sample on that apparently. So here's the here's the article again. 583 00:39:45,159 --> 00:39:48,400 This is from Billboard. WWE superstar and actor John Cena 584 00:39:48,559 --> 00:39:52,519 is facing a lawsuit over the iconic horn riff from 585 00:39:52,599 --> 00:39:56,480 his entrance theme, The Time is Now. A questionable legal case, 586 00:39:56,559 --> 00:39:59,559 but one that shines a light on a tortured history 587 00:39:59,599 --> 00:40:04,239 of sam and credits behind the famed song. That's interesting. 588 00:40:04,320 --> 00:40:06,400 So apparently there have been other legal issues with the 589 00:40:06,440 --> 00:40:09,360 song that I was not aware of, says. The lawsuit 590 00:40:09,519 --> 00:40:12,599 was filed by the daughter of Pete Schofield, who's nineteen 591 00:40:12,679 --> 00:40:15,800 seventy four recording of the Night the Lights Went Out 592 00:40:15,840 --> 00:40:18,440 in Georgia. Everybody knows that song right That's the Night 593 00:40:18,519 --> 00:40:22,119 that the lights went out in Georgia is the undisputed 594 00:40:22,280 --> 00:40:26,400 source of the blaring horn blasts at the start of 595 00:40:26,559 --> 00:40:29,920 Sina's two thousand and five track. In it, she claims 596 00:40:30,000 --> 00:40:35,000 that Sina and the WWE failed to properly clear the 597 00:40:35,119 --> 00:40:39,800 sample and breached an earlier fifty thousand dollars settlement over 598 00:40:39,920 --> 00:40:43,800 the dispute. Now, I did not know. This is news 599 00:40:43,880 --> 00:40:45,840 to me. I did not know that that had ever happened. 600 00:40:45,840 --> 00:40:48,039 I think they kept it very quiet. I did not 601 00:40:48,280 --> 00:40:53,360 know that there was ever a problem established previously over 602 00:40:53,480 --> 00:40:56,400 that horn section. I do want to and I didn't 603 00:40:56,440 --> 00:40:58,760 know that there was a settlement. Now you might be thinking, 604 00:40:58,840 --> 00:41:01,880 though I do know this, might be thinking, why if 605 00:41:01,960 --> 00:41:04,199 this was already settled, why is this coming up again. 606 00:41:04,400 --> 00:41:07,079 There's a very good reason. There's a very good reason. 607 00:41:07,159 --> 00:41:09,239 But we'll come back to that, because I want to 608 00:41:09,280 --> 00:41:14,400 pull this up. Now. I know the song the Nights 609 00:41:14,840 --> 00:41:17,239 the night the lights went out in Georgia, I do 610 00:41:17,400 --> 00:41:22,320 not know. I can't remember though, like I haven't heard 611 00:41:22,360 --> 00:41:25,559 it in a long time. Is that like if I 612 00:41:25,679 --> 00:41:27,840 pull that song up, which I'm going to do now, 613 00:41:28,280 --> 00:41:30,400 and we listen to that, are we going to hear 614 00:41:31,719 --> 00:41:33,960 that exact I just want to hear it for myself. 615 00:41:34,239 --> 00:41:37,840 Is it really sampled from that? Because I haven't heard 616 00:41:37,880 --> 00:41:40,239 that song in forever, But I don't remember hearing in 617 00:41:40,360 --> 00:41:45,320 that song, you know, the horns. So let's let's find out. 618 00:41:48,480 --> 00:41:51,400 Pete Schofield and the Canadians The Night the Lights Went 619 00:41:51,440 --> 00:41:56,199 Out in Georgia. Let's see. I don't know where in 620 00:41:56,239 --> 00:41:59,119 the song the horns appear, but let's uh, let's find out. 621 00:42:35,880 --> 00:42:38,960 So this is obviously not the version of the song 622 00:42:39,039 --> 00:42:41,280 that we're used to hearing. I can't remember because the 623 00:42:41,360 --> 00:42:43,320 version we're used to hearing, the big hit song The 624 00:42:43,440 --> 00:42:46,039 Night the Lights Went Out in Georgia has vocals. I 625 00:42:46,199 --> 00:42:48,920 can't remember who does it, but this is Pete Schofield, 626 00:42:48,960 --> 00:42:51,079 you know, jazz musician doing his version of it, which 627 00:42:51,119 --> 00:42:53,639 is an instrumental. I'm hearing a lot of horns, and 628 00:42:53,719 --> 00:42:58,159 the horns sound similar in tone and timbore to the 629 00:42:58,400 --> 00:43:01,719 horns in John seen As theme. But I don't hear 630 00:43:02,079 --> 00:43:04,519 so far. I don't hear that actual. 631 00:43:06,559 --> 00:43:06,760 Speaker 3: Do you. 632 00:43:07,119 --> 00:43:09,400 Speaker 9: I don't hear the actual riff. But let's listen to 633 00:43:09,440 --> 00:43:40,079 a little bit more of this. Not hearing it. 634 00:43:49,880 --> 00:43:50,440 Speaker 8: Where is it? 635 00:43:51,440 --> 00:43:53,679 Speaker 9: Is it right at the beginning, because I failed to 636 00:43:53,880 --> 00:43:55,679 unmute this right at the beginning. Let's go back to 637 00:43:55,760 --> 00:43:57,280 the very beginning. We're not going to listen to a 638 00:43:57,320 --> 00:43:59,679 whole thing, I promise, because just kill me. I don't 639 00:43:59,719 --> 00:44:03,840 like this kind of stuff. But here, oh there it is. 640 00:44:05,519 --> 00:44:16,920 It's in the beginning. Okay, here, all right, okay, guilty. Yeah, 641 00:44:17,599 --> 00:44:20,400 they definitely took it from that, all right, no getting 642 00:44:20,440 --> 00:44:24,079 around it. I'm glad I went back to the beginning. 643 00:44:25,119 --> 00:44:28,360 Let's see, let's go back to this article. Okay, so 644 00:44:28,480 --> 00:44:33,880 they settled. They settled that for fifty grand. Now there's 645 00:44:33,920 --> 00:44:41,760 more to this article. Let's back up a little bit actually, Okay. 646 00:44:41,880 --> 00:44:45,920 So the lawsuit was filed by the daughter of Pete Schofield, 647 00:44:45,920 --> 00:44:49,119 who's nineteen seventy four recording is the undisputed source of 648 00:44:49,159 --> 00:44:52,480 the Blaring Horns Horn blasts at the start of Sina's 649 00:44:52,559 --> 00:44:54,840 two thousand and five track. In it, she claims that 650 00:44:54,960 --> 00:44:57,719 SENA and the WWE failed to properly clear the sample 651 00:44:57,920 --> 00:45:02,719 and reached an earlier fifty thousand dollar settlement over the dispute. Okay, so, 652 00:45:03,840 --> 00:45:10,360 Kim Schofield rights. This is from her December second lawsuit 653 00:45:10,559 --> 00:45:15,599 obtained by Billboard, which names both John Cena and WWE 654 00:45:15,679 --> 00:45:19,639 as defendants. Quote. Every effort at informed resolution has been 655 00:45:19,679 --> 00:45:24,599 met with threats, misrepresentations, and intimidation tactics, leaving plaintiff with 656 00:45:24,719 --> 00:45:28,840 no recourse but to seek relief from this court. Unquote. 657 00:45:30,400 --> 00:45:32,760 Now again, this was previously settled, So why is this 658 00:45:32,880 --> 00:45:36,239 coming up again? Says here The time is now, in 659 00:45:36,280 --> 00:45:39,159 which Sina wraps over a beat created by producer Jake 660 00:45:39,280 --> 00:45:42,079 One was released in two thousand and five by Columbia 661 00:45:42,119 --> 00:45:45,480 House Records and WWE Music Group. The track served as 662 00:45:45,519 --> 00:45:48,719 a theme song during Sena's rise to superstardom and later 663 00:45:48,840 --> 00:45:52,079 became a popular track in social media memes. The track 664 00:45:52,119 --> 00:45:54,960 will likely play at some point during his final WWE 665 00:45:55,000 --> 00:45:58,159 appearance next week before he retires from wrestling. The song 666 00:45:58,280 --> 00:46:02,079 is something of a crediting nightmare. The famed horns are 667 00:46:02,159 --> 00:46:05,880 pulled from Schofield's recording of the Night Went Out in 668 00:46:05,960 --> 00:46:08,880 Georgia I'm Sorry the Night the Lights Went Out in Georgia, 669 00:46:09,239 --> 00:46:12,119 which is a cover of a composition by songwriter Bobby 670 00:46:12,159 --> 00:46:15,679 Russell that's also been released by multiple other artists, including 671 00:46:15,800 --> 00:46:18,119 Vicky Lawrence, Oh, Vicky Lawrence. She's the one who had 672 00:46:18,159 --> 00:46:21,119 the big hit with it, Vicky Lawrence and Reba McIntyre. 673 00:46:21,639 --> 00:46:24,960 Sena song also samples heavily the mop's two thousand hip 674 00:46:25,000 --> 00:46:28,840 hop classic Anti Up, which itself drew on samples from 675 00:46:28,920 --> 00:46:33,199 Sam and Dave's soul sister Brown Sugar. Yeah, that's a 676 00:46:33,280 --> 00:46:38,599 lot of sampling. The complex audio lineage has already led 677 00:46:38,639 --> 00:46:40,960 to previous legal battles. Back in two thousand and eight, 678 00:46:41,119 --> 00:46:45,519 MOP sued WWE Oversena's use of the Anti Up sample, 679 00:46:45,880 --> 00:46:50,000 claiming that they had expressly refused to approve the use 680 00:46:50,079 --> 00:46:53,119 of their track and that WWE had cleared it by 681 00:46:53,199 --> 00:46:57,800 getting a signature from a receptionist at an unaffiliated company. 682 00:46:58,159 --> 00:46:59,880 I didn't know about any of this. This is fast, 683 00:47:00,639 --> 00:47:03,280 but that case was quickly dropped a few months later 684 00:47:03,880 --> 00:47:09,719 on undisclosed terms. In Schofield's lawsuit, filed with the help 685 00:47:10,000 --> 00:47:14,199 of lawyers Kim, Schofield paints a complicated picture of her allegations. 686 00:47:14,880 --> 00:47:18,400 She says she finally didn't know about seeing his use 687 00:47:18,440 --> 00:47:21,920 of the song until twenty fifteen, and that they had 688 00:47:22,000 --> 00:47:25,760 signed a settlement deal in twenty seventeen. This is important 689 00:47:26,519 --> 00:47:30,760 with WWE for fifty thousand dollars covering the sample of 690 00:47:30,880 --> 00:47:35,760 the sound recording, but at some point later, she claims, 691 00:47:35,920 --> 00:47:41,159 they realized they also owned publishing rights two aspects of 692 00:47:41,639 --> 00:47:47,000 Schofield Scofield's nineteen seventy four song that were distinct from 693 00:47:47,119 --> 00:47:52,199 Russell's original composition. This guet's very complicated. Such allegations could 694 00:47:52,199 --> 00:47:55,360 face an uphill climb in court. Decade old claims of 695 00:47:55,480 --> 00:47:59,119 copyright infringement could very likely be barred in the statute 696 00:47:59,159 --> 00:48:04,199 of limitations or by earlier settlement. Yeah, I mean copyright law, 697 00:48:04,519 --> 00:48:07,679 trademark law, intellectual property law. All of it gets very, 698 00:48:07,760 --> 00:48:10,920 very complicated. I find it fascinating. I hope some of 699 00:48:11,000 --> 00:48:15,159 you do. It's also not legally clear that Schofield can 700 00:48:15,199 --> 00:48:17,719 claim the rights she says she owns, nor that she 701 00:48:17,760 --> 00:48:20,719 can blame WWE for the fact that she was unaware 702 00:48:20,719 --> 00:48:26,320 of them when she signed the earlier deal. Reps for 703 00:48:26,480 --> 00:48:29,800 Sena and the WWE did not immediately return her request 704 00:48:29,880 --> 00:48:33,559 for a comment on Friday. In her lawsuits, Schofield says 705 00:48:33,679 --> 00:48:38,159 lawyers for WWE told her that the twenty seventeen settlement 706 00:48:38,360 --> 00:48:43,320 was final and binding on any claims related to the 707 00:48:43,440 --> 00:48:46,360 time is now, and that she could not later reopen 708 00:48:46,400 --> 00:48:51,199 negotiations merely because she had seller's remorse. They also allegedly 709 00:48:51,320 --> 00:48:54,320 told her that they had fully cleared the sample by 710 00:48:54,480 --> 00:48:58,400 inking a license with the airs of Bobby Russell, the 711 00:48:58,559 --> 00:49:03,639 songwriter who wrote the song that Schofield recorded. The lawsuit 712 00:49:03,800 --> 00:49:07,880 also names Russell's airs as defendants. The younger Schofield claims 713 00:49:08,320 --> 00:49:10,920 they have improperly been receiving the royalties for seen as 714 00:49:11,039 --> 00:49:13,519 use of the sample, and that they have recently threatened 715 00:49:13,559 --> 00:49:15,719 to sue her if she does not stop claiming her 716 00:49:16,079 --> 00:49:19,639 own rights to the song. The Russell Airs could not 717 00:49:19,719 --> 00:49:23,519 immediately be located for comment. While cover artists can get 718 00:49:23,599 --> 00:49:27,679 sound recording copyrights to their specific performances, they cannot typically 719 00:49:27,760 --> 00:49:31,639 claim composition rights, a common sense rule, since the underlying 720 00:49:31,719 --> 00:49:35,239 music in a cover was necessarily written by someone else. 721 00:49:35,639 --> 00:49:38,880 In fact, making substantial changes to the underlying song can 722 00:49:38,960 --> 00:49:43,800 turn a legal cover track into an unauthorized derivative. Now 723 00:49:43,920 --> 00:49:47,159 there's something else to this that this article leaves out. 724 00:49:47,280 --> 00:49:52,639 That I was reading last night, and that is and 725 00:49:52,719 --> 00:49:55,280 I'm surprised it is not included in this article. Part 726 00:49:55,320 --> 00:49:59,000 of what Kim Schofield is mad about is that she 727 00:49:59,280 --> 00:50:04,960 claims that when that fifty thousand dollars settlement was reached, 728 00:50:05,000 --> 00:50:06,960 because that seems like a low number to me for 729 00:50:07,039 --> 00:50:11,119 this kind of case. When she agreed and her lawyers 730 00:50:11,159 --> 00:50:15,960 agreed to that fifty thousand dollars settlement, they were unaware, 731 00:50:17,079 --> 00:50:21,880 and she has claimed that WWE and their attorneys intentionally 732 00:50:22,039 --> 00:50:26,559 tried to hide this from her. She was unaware that 733 00:50:26,679 --> 00:50:31,320 that song was about to be used in a national 734 00:50:31,559 --> 00:50:37,880 advertising campaign for I Think It's Toyota, that I Think 735 00:50:37,920 --> 00:50:41,760 there were Toyota ads with John Cena's voice in the 736 00:50:41,840 --> 00:50:44,360 ad is the voiceover, and that that song is playing 737 00:50:44,519 --> 00:50:49,800 in the ad, specifically with that horn riff that's in 738 00:50:49,880 --> 00:50:54,800 the ad, and she agreed to that fifty thousand dollars figure, 739 00:50:56,000 --> 00:51:02,719 not knowing that. Two days later, two days after she 740 00:51:02,880 --> 00:51:07,679 agreed to that settlement, that ad campaign rolls out and 741 00:51:07,840 --> 00:51:11,480 on televisions throughout the United States. People are seeing this 742 00:51:11,679 --> 00:51:15,320 ad with that song and that horns sample in the 743 00:51:15,480 --> 00:51:22,239 ad for Toyota, and and she claims that they intentionally 744 00:51:22,559 --> 00:51:24,519 tried to hide that from her. They concealed that from 745 00:51:24,559 --> 00:51:27,920 her because they knew she would ask for a bigger 746 00:51:28,000 --> 00:51:30,920 number if she knew that that song was about to 747 00:51:31,000 --> 00:51:34,400 be used in a national advertising campaign, a high profile 748 00:51:34,679 --> 00:51:38,000 national advertising campaign, so she's mad about that. So that's 749 00:51:38,000 --> 00:51:41,840 also part of her claim here. But so there you go. 750 00:51:45,800 --> 00:51:48,639 That is again that is from Billboard dot com. So 751 00:51:49,039 --> 00:51:50,800 there's a lot a lot there. All right, we are 752 00:51:50,920 --> 00:51:53,800 going to begin to wrap up. I want to fit 753 00:51:53,880 --> 00:51:58,159 in one more track from the Fods, great song called Shopping. 754 00:51:58,280 --> 00:52:00,239 This was the first single that we ever played them 755 00:52:00,320 --> 00:52:01,599 on the show. But again, I do want to thank 756 00:52:01,639 --> 00:52:04,760 everybody who joined us today, Rob Critch Lee from the 757 00:52:04,840 --> 00:52:07,239 Fods of course in the first hour, and then we 758 00:52:07,320 --> 00:52:10,119 had Jordan from the Forensics in the third hour, and 759 00:52:10,199 --> 00:52:13,320 we had the whole band of Baron Kismo in the 760 00:52:13,360 --> 00:52:16,159 second hour who joined us today. So a fun show today. 761 00:52:16,559 --> 00:52:18,519 I hope everyone is well. If you want to know 762 00:52:18,599 --> 00:52:20,519 more about me and all the things I'm up to, 763 00:52:20,719 --> 00:52:23,880 Matt Coonorton dot com is my website. Jenny is not 764 00:52:23,960 --> 00:52:25,760 here with us today, she's at home, but she'll be 765 00:52:25,840 --> 00:52:29,320 back soon. But her website is Jencoffee dot com. Please 766 00:52:29,400 --> 00:52:31,400 check that out because she's always up to a lot 767 00:52:31,440 --> 00:52:34,000 of really good stuff, important work that she is doing. 768 00:52:34,559 --> 00:52:38,440 And oh and this weekend, I believe Eric Pilter and 769 00:52:38,480 --> 00:52:40,360 I will be doing a new episode of Tough Bumps, 770 00:52:40,519 --> 00:52:43,800 a new live stream on Sunday night, so be sure 771 00:52:43,840 --> 00:52:45,800 to tune in for that and please subscribe to that 772 00:52:45,960 --> 00:52:51,519 podcast on your podcast platform of choice. And Eric, of 773 00:52:51,599 --> 00:52:54,400 course is you know, he's still he hasn't been directly involved, 774 00:52:54,400 --> 00:52:56,519 but he's still an important part of Matt Connorton Unleashed 775 00:52:56,559 --> 00:52:59,800 as well, which is to say that those classic film 776 00:52:59,840 --> 00:53:02,559 are views that were very popular on the show, those 777 00:53:02,639 --> 00:53:05,440 will be coming back, I believe in January as Eric's plan. 778 00:53:05,639 --> 00:53:08,440 So so Eric is still very much with us as well, 779 00:53:08,519 --> 00:53:11,400 very very much involved. Dad, if you're listening, I love you. 780 00:53:11,519 --> 00:53:13,960 I hope you're well or will be well. You're not well, 781 00:53:14,119 --> 00:53:16,760 but that's why you're in mass general, but but you 782 00:53:16,840 --> 00:53:20,199 had surgery. I hope your recovery goes well and there 783 00:53:20,280 --> 00:53:22,760 is a path forward for you coming out of what 784 00:53:22,840 --> 00:53:26,000 you've been going through. And thank you everyone who's been 785 00:53:26,079 --> 00:53:26,840 very supportive with that. 786 00:53:27,000 --> 00:53:27,599 Speaker 8: Appreciate you. 787 00:53:28,840 --> 00:53:30,559 Speaker 9: And if you missed any part of today's show, we'll 788 00:53:30,559 --> 00:53:32,760 be up in just a little bit at wmnhradio dot 789 00:53:32,920 --> 00:53:35,760 org and at my website Matt Connorton dot com, and 790 00:53:36,440 --> 00:53:39,719 we will leave you with this track again. This is 791 00:53:39,760 --> 00:53:42,400 from the Fodds. This is the first single that we 792 00:53:42,480 --> 00:53:43,880 played on the show and I love this a lot. 793 00:53:44,000 --> 00:53:46,920 This is called shopping. To close out this week's Matt 794 00:53:46,960 --> 00:53:48,960 Connorton Unleashed Bye everybody. 795 00:53:53,880 --> 00:53:56,519 Speaker 5: She wears goo car. 796 00:53:58,079 --> 00:53:58,920 Speaker 1: And he's one of them. 797 00:53:59,000 --> 00:54:03,079 Speaker 5: Thank you, burned time. 798 00:54:03,360 --> 00:54:07,719 Speaker 6: No, as soon as buy your brand new too. 799 00:54:09,960 --> 00:54:14,559 Speaker 13: You're just su same all the races. I see you 800 00:54:14,760 --> 00:54:19,400 by that brand new dress. Something's going wrong. I know 801 00:54:19,559 --> 00:54:21,000 they shouldn't take this roll. 802 00:54:21,639 --> 00:54:50,440 Speaker 5: Somebody give me out all right by while crazy? You 803 00:54:50,760 --> 00:54:52,599 mustn't ray. 804 00:54:54,519 --> 00:54:59,800 Speaker 14: Ill this farming just want to follow me to be the. 805 00:55:02,400 --> 00:55:02,559 Speaker 10: May? 806 00:55:02,760 --> 00:55:03,239 Speaker 8: What about? 807 00:55:03,320 --> 00:55:08,480 Speaker 5: Says? I don't see some does some especially within me, 808 00:55:10,559 --> 00:56:11,079 especially with ly sep ly do sils just got some 809 00:56:11,280 --> 00:56:24,760 time le sills got some time. Hole. So what we 810 00:56:24,960 --> 00:57:32,079 do and made ourselves just passes? Stop that leave si 811 00:57:32,760 --> 00:57:59,159 sa when we do any little souls listen lexee me No, 812 00:58:00,119 --> 00:58:03,039 did I would make you proud? Come so far from 813 00:58:03,199 --> 00:58:08,199 Mona yesterday? Still not clear? 814 00:58:08,679 --> 00:58:11,719 Speaker 1: How the hell are we get here the rest of years? 815 00:58:11,800 --> 00:58:20,280 Speaker 5: Ancern in sua age's concerning me? Mean, go hon there's 816 00:58:20,400 --> 00:58:24,400 nothing from me? So I don't want a time. 817 00:58:27,320 --> 00:58:30,880 Speaker 14: So got about the trainway, got up to the Free 818 00:58:32,199 --> 00:58:33,320 just a dot of cr. 819 00:58:36,480 --> 00:58:38,840 Speaker 5: Something's not. 820 00:58:42,119 --> 00:58:45,679 Speaker 2: Always chasing something new, got to something. 821 00:58:45,480 --> 00:58:45,840 Speaker 4: In of you. 822 00:58:46,480 --> 00:58:51,519 Speaker 5: And am I going on my way? Not not to 823 00:58:51,760 --> 00:58:55,480 me over look that you never thought I should. I 824 00:58:55,679 --> 00:59:04,079 am lunching you and all go gasserted me. I mean 825 00:59:04,119 --> 00:59:05,559 there's nothing. 826 00:59:05,360 --> 00:59:11,679 Speaker 14: From me, I said, I want to tell you I 827 00:59:12,039 --> 00:59:15,320 got I got the train. Anyway you go to the Free, 828 00:59:16,199 --> 00:59:17,760 it's just a dollar cross 829 00:59:20,679 --> 00:59:21,239 Speaker 8: The st