1 00:00:00,040 --> 00:00:02,919 Speaker 1: The name of the podcast network is aero dot net 2 00:00:02,960 --> 00:00:06,519 a r r oe dot net. Twenty different podcasts to 3 00:00:06,639 --> 00:00:11,359 choose from, one of them being missed opportunity. You know, 4 00:00:11,599 --> 00:00:13,839 of all of the people that I've shared conversations with, 5 00:00:14,000 --> 00:00:17,719 what you've never experienced are my missed opportunities. So I've 6 00:00:17,719 --> 00:00:20,760 gone back and I've re asked the questions, and believe 7 00:00:20,800 --> 00:00:23,320 it or not, those that missed their chance to share 8 00:00:23,359 --> 00:00:29,039 a conversation with me are replying missed Opportunity from erow 9 00:00:29,039 --> 00:00:34,280 dot net a r r oe dot net. Enjoy your exploration. Hello, 10 00:00:34,320 --> 00:00:35,759 and good morning, are good afternoon? 11 00:00:37,840 --> 00:00:39,359 Speaker 2: Hello? Is this arrow? Yes? 12 00:00:39,439 --> 00:00:41,719 Speaker 1: How are you doing today, Jamie? 13 00:00:42,000 --> 00:00:43,799 Speaker 2: I'm doing great. How are you doing? 14 00:00:43,960 --> 00:00:47,079 Speaker 1: Absolutely fantastic and looking forward to sharing a conversation with you, 15 00:00:47,159 --> 00:00:51,479 because now now that that guy that won that big 16 00:00:51,560 --> 00:00:54,000 Album of the Year for Rock Records, you know, it's 17 00:00:54,079 --> 00:00:56,159 it's like all of a sudden, now it's like rock 18 00:00:56,280 --> 00:00:58,520 is back. I'm proving it that it's back. And now 19 00:00:58,520 --> 00:01:00,759 that opens up the door for everybody else to say, 20 00:01:00,880 --> 00:01:03,200 you know what, we've been doing this a while, we're 21 00:01:03,240 --> 00:01:03,960 here as well. 22 00:01:05,000 --> 00:01:07,000 Speaker 2: Yeah, absolutely, there's always room. 23 00:01:06,920 --> 00:01:09,000 Speaker 1: For rock, right there is, And you know what, it 24 00:01:09,359 --> 00:01:11,519 just seems like that it's been you know, blacklisted for 25 00:01:11,560 --> 00:01:14,599 the longest time, and I keep wondering if it's because 26 00:01:14,680 --> 00:01:17,359 the the elders of the rock world just said, look, 27 00:01:17,400 --> 00:01:19,480 we need to go back underground and not make it 28 00:01:19,519 --> 00:01:21,400 so candy coated. And I'm going, okay, I'll go with 29 00:01:21,480 --> 00:01:22,159 something like that. 30 00:01:23,920 --> 00:01:27,159 Speaker 2: Yeah. Maybe, who knows, but I'm glad it's coming back around. 31 00:01:27,000 --> 00:01:28,599 Speaker 1: Yeah, because I mean, I mean, look at what you're 32 00:01:28,599 --> 00:01:31,319 doing with the exploration. I mean, even with the song Woman, 33 00:01:31,359 --> 00:01:33,760 I mean, w O M A N. I mean, you 34 00:01:33,840 --> 00:01:37,319 really put yourself in this and it's and it's your personality, 35 00:01:37,400 --> 00:01:40,400 it's your vibe, it's yours originally. 36 00:01:42,040 --> 00:01:42,799 Speaker 2: Well thank you. 37 00:01:42,920 --> 00:01:45,959 Speaker 3: Yeah, I mean it was a fun song to write, 38 00:01:46,120 --> 00:01:49,560 and for sure, it's definitely me with the whole you know, 39 00:01:49,640 --> 00:01:52,519 I am woman, your roar type of attitude. 40 00:01:53,280 --> 00:01:55,000 Speaker 1: But you what was so funny is that just a 41 00:01:55,040 --> 00:01:57,680 couple of days ago, I was with Gloria steinem and 42 00:01:57,680 --> 00:01:59,599 and and so you know, to to move through that 43 00:01:59,680 --> 00:02:01,640 moment and then to have a conversation with her and 44 00:02:01,680 --> 00:02:04,159 then to be with you. I can totally hear the 45 00:02:04,359 --> 00:02:06,799 energy in your vocal cords as well as your soul 46 00:02:07,000 --> 00:02:10,439 when it comes to Hey, here is what art brings forward. 47 00:02:10,479 --> 00:02:12,080 We can make a difference with things like this. 48 00:02:13,840 --> 00:02:14,759 Speaker 2: Absolutely. 49 00:02:14,960 --> 00:02:16,439 Speaker 3: I mean I think that you know, if you have 50 00:02:16,479 --> 00:02:18,280 a voice, you got to use it, right. 51 00:02:18,400 --> 00:02:21,879 Speaker 1: Yeah, When did you gain the confidence to use that voice? 52 00:02:21,879 --> 00:02:23,759 Because there's a lot of people that are still in 53 00:02:23,840 --> 00:02:26,199 hiding or as I used to say, you're still stuck 54 00:02:26,199 --> 00:02:28,039 in the garage on with that garage. 55 00:02:27,639 --> 00:02:32,599 Speaker 3: Band, right, you know, Er, I'm still working on it, 56 00:02:32,759 --> 00:02:35,599 you know, honestly keeping it real over here. 57 00:02:35,719 --> 00:02:37,960 Speaker 2: I mean, I'm you know, it's it's not easy to 58 00:02:38,879 --> 00:02:41,120 always speak up or use your voice or stand for 59 00:02:41,240 --> 00:02:41,960 what you believe in. 60 00:02:42,039 --> 00:02:44,520 Speaker 3: But I think it's important, especially when you have a 61 00:02:44,560 --> 00:02:47,360 platform or you have some type of artistic. 62 00:02:46,960 --> 00:02:48,080 Speaker 2: Outlet, you know. 63 00:02:48,080 --> 00:02:50,159 Speaker 3: And that's what's so beautiful about being an artist and 64 00:02:50,199 --> 00:02:53,520 making music is that you can really, you know, say 65 00:02:53,560 --> 00:02:56,599 things that you want to say and create things you 66 00:02:56,599 --> 00:02:57,240 want to create. 67 00:02:57,280 --> 00:02:59,400 Speaker 2: And so yeah, I mean. 68 00:02:59,319 --> 00:03:02,000 Speaker 3: I I'm still finding that confidence. 69 00:03:02,039 --> 00:03:04,080 Speaker 2: You know, it's a work in progress for me. 70 00:03:04,400 --> 00:03:05,919 Speaker 1: Well, I mean, look at what you guys are doing. 71 00:03:05,919 --> 00:03:07,840 I mean, you guys are so actively involved. And I 72 00:03:07,879 --> 00:03:10,719 would love to learn more about beat Farm because that 73 00:03:10,800 --> 00:03:13,120 to me sounds like that's an outreach of what you 74 00:03:13,199 --> 00:03:16,199 guys are actually presenting, and you're giving other people the 75 00:03:16,199 --> 00:03:20,360 opportunity to find a platform of their own as well. 76 00:03:20,639 --> 00:03:25,199 Speaker 3: Yeah, so beat Farm beat Farms pretty cool because it was. 77 00:03:25,159 --> 00:03:27,039 Speaker 2: Started, it was founded and created. 78 00:03:27,120 --> 00:03:29,680 Speaker 3: The band was started and created by a guy named 79 00:03:29,680 --> 00:03:34,360 Troy Wilver, who's our guitarist, and he really wanted to 80 00:03:34,360 --> 00:03:38,520 put a group together, you know, of these veteran musicians, 81 00:03:38,520 --> 00:03:39,919 so all of us have been in the industry a 82 00:03:40,000 --> 00:03:44,280 long time, hence the name OG eight or Original eight or. 83 00:03:44,240 --> 00:03:46,400 Speaker 2: OG's you know, we go way back. 84 00:03:46,800 --> 00:03:50,639 Speaker 3: But but yeah, he wanted to really put something together 85 00:03:50,960 --> 00:03:53,159 and create something that felt. 86 00:03:54,000 --> 00:03:56,360 Speaker 2: That was ours, you know, that wasn't owned. 87 00:03:56,039 --> 00:03:59,560 Speaker 3: By another label, or we weren't being told, you know, 88 00:03:59,719 --> 00:04:02,400 oh it this way or that way. So he created 89 00:04:02,479 --> 00:04:05,319 Beat Farm, his own label in order to do that 90 00:04:05,639 --> 00:04:11,159 and started putting this project together and handpicking musicians and whatnot. 91 00:04:11,800 --> 00:04:13,759 Speaker 2: And yeah, so beat Farm. 92 00:04:13,560 --> 00:04:16,920 Speaker 3: Itself is really just an extension of you know, it's 93 00:04:16,959 --> 00:04:18,639 a way for us to be able to do what 94 00:04:18,680 --> 00:04:20,480 we want to do and not have to have a 95 00:04:20,560 --> 00:04:22,759 label controlling it all. 96 00:04:23,000 --> 00:04:25,079 Speaker 1: Don't you love that vibe as to where we are 97 00:04:25,199 --> 00:04:27,279 right now in situations like that in the way that 98 00:04:27,480 --> 00:04:29,480 because I mean if you were to take what we're 99 00:04:29,519 --> 00:04:32,319 having to do today and let's say replanted in the 100 00:04:32,360 --> 00:04:35,439 fifties and sixties, I don't think they knew how to 101 00:04:35,439 --> 00:04:37,199 do it as much as we know how to do 102 00:04:37,240 --> 00:04:38,920 it today. 103 00:04:39,800 --> 00:04:42,879 Speaker 2: Absolutely. I mean it's changed so much over the years, 104 00:04:42,920 --> 00:04:43,319 hasn't it. 105 00:04:43,319 --> 00:04:46,439 Speaker 3: With technology and the Internet and really just changed the 106 00:04:46,439 --> 00:04:49,439 industry all around. And I think in some ways, you know, 107 00:04:49,560 --> 00:04:52,040 for the better. In some ways maybe not. I think 108 00:04:52,040 --> 00:04:55,000 we're still trying to figure that out with streaming and stuff. 109 00:04:54,600 --> 00:04:58,000 But yeah, I mean it's just changed so much, and 110 00:04:58,240 --> 00:05:01,160 I think that the Internet and the technology has really 111 00:05:01,240 --> 00:05:03,240 opened up avenues. 112 00:05:02,680 --> 00:05:06,560 Speaker 2: For artists that, you know, don't have that big financial. 113 00:05:06,160 --> 00:05:08,839 Speaker 3: Backing or don't have that label support because you know, 114 00:05:08,920 --> 00:05:10,399 back in the day, it was like if you didn't 115 00:05:10,399 --> 00:05:12,560 have a label and distribution, you were. 116 00:05:12,759 --> 00:05:13,759 Speaker 2: Sol you know. 117 00:05:14,360 --> 00:05:17,160 Speaker 3: But now you can put your stuff out there on 118 00:05:17,199 --> 00:05:19,319 the Internet, and you know, we see these kids blown 119 00:05:19,399 --> 00:05:24,360 up on TikTok and and becoming big artists, and the 120 00:05:24,439 --> 00:05:26,920 labels are coming after them, you know now because of it, 121 00:05:27,040 --> 00:05:30,000 not coming after them, but wanting to sign them because 122 00:05:30,040 --> 00:05:31,839 they've blown up on their own. And a lot of 123 00:05:31,920 --> 00:05:33,720 artists will turn around and be like, Nope, I'm going 124 00:05:33,759 --> 00:05:35,439 to continue to do this independently. 125 00:05:36,040 --> 00:05:39,000 Speaker 1: So interesting that you bring up TikTok and things, because 126 00:05:39,040 --> 00:05:42,920 I'm seeing a big evolutional change, especially right now with 127 00:05:43,040 --> 00:05:45,920 it in the way that even American Idol went on 128 00:05:46,040 --> 00:05:48,240 there and they went to the tiktoks to find out 129 00:05:48,279 --> 00:05:50,360 if there was somebody there and then and then to 130 00:05:50,399 --> 00:05:53,800 see the length of your song. Wa and woman, I 131 00:05:53,800 --> 00:05:56,439 mean three point fifteen. I'm going, oh my god, you 132 00:05:56,480 --> 00:05:59,360 are spot on, because I do these dances where these 133 00:05:59,439 --> 00:06:02,480 kids they don't want to hear a five minute song. 134 00:06:02,720 --> 00:06:04,519 Get me out of here at three point fifteen, and 135 00:06:04,519 --> 00:06:07,639 I'm going, oh my god, Jamie is onto something here. 136 00:06:09,439 --> 00:06:11,480 Speaker 3: Well, I don't know if that was me, but I 137 00:06:11,480 --> 00:06:13,199 think this song just turned out that way. 138 00:06:13,240 --> 00:06:16,079 Speaker 2: But yeah, I understand what you're saying. You're right, and 139 00:06:16,160 --> 00:06:19,000 I think that you know, I don't know if it's 140 00:06:19,040 --> 00:06:21,560 a good or bad thing, but you know, tension spans 141 00:06:21,279 --> 00:06:23,319 have lessened. 142 00:06:23,480 --> 00:06:26,120 Speaker 3: I think, you know, with technology, it's like things move 143 00:06:26,199 --> 00:06:29,279 really fast. So I've heard that you got to catch 144 00:06:29,319 --> 00:06:32,079 their attention really quickly these days, you know, on TikTok, 145 00:06:32,199 --> 00:06:35,720 And you're correct, I think in saying that people don't 146 00:06:35,720 --> 00:06:37,639 want to sit there and listen to these long songs 147 00:06:37,680 --> 00:06:39,199 anymore necessarily. 148 00:06:39,839 --> 00:06:42,079 Speaker 1: Oh yeah, because I came from the days of radio 149 00:06:42,160 --> 00:06:44,480 where this newcomer that came on the scene as a 150 00:06:44,480 --> 00:06:47,279 solo performer, I think his name was, oh yeah, George Michael, 151 00:06:47,399 --> 00:06:49,759 That's what it was. Anyway, his songs were like going 152 00:06:49,920 --> 00:06:52,439 five forty and all that, And I'm going, I don't 153 00:06:52,560 --> 00:06:55,680 know about this because it's like, because as a jock 154 00:06:55,759 --> 00:06:59,399 inside that studio, I wasn't my attention span wasn't that long, 155 00:06:59,600 --> 00:07:01,519 and so and to see something like this, it's like, 156 00:07:01,600 --> 00:07:03,600 give me back on that radio, Give me back on 157 00:07:03,600 --> 00:07:06,120 that radio. We need more songs like this when at 158 00:07:06,160 --> 00:07:07,319 three point fifteen. 159 00:07:08,480 --> 00:07:12,279 Speaker 3: Right yeah, And I think isn't radio kind of around 160 00:07:12,319 --> 00:07:13,439 that now these days? 161 00:07:13,480 --> 00:07:15,720 Speaker 2: Anyway? Like three three point thirty. 162 00:07:15,680 --> 00:07:18,079 Speaker 1: Yea, yep, yep, move it, move it, move it, yeah, 163 00:07:18,079 --> 00:07:19,759 as many as we can to get into that hour, 164 00:07:19,959 --> 00:07:22,240 And of course the business side of radio would be, well, 165 00:07:22,279 --> 00:07:24,199 we got to get to a commercial break instead of hey, 166 00:07:24,279 --> 00:07:26,600 let me get you to another good song. So so 167 00:07:26,720 --> 00:07:29,120 that that's what I love about streaming is that it's 168 00:07:29,160 --> 00:07:32,839 about the artist. It's it's about bringing that forward and 169 00:07:32,879 --> 00:07:36,079 making sure that the entire catalog, when it's available, is 170 00:07:36,120 --> 00:07:38,720 readily available for those that are just discovering you. 171 00:07:40,720 --> 00:07:42,040 Speaker 2: Yeah. Yeah, absolutely. 172 00:07:42,079 --> 00:07:44,199 Speaker 3: That is the beauty of it, isn't it that as 173 00:07:44,240 --> 00:07:47,199 a consumer, you could really just have it at your 174 00:07:47,199 --> 00:07:48,959 fingertips and decide, oh, yeah, I. 175 00:07:48,920 --> 00:07:49,720 Speaker 2: Want to check this out. 176 00:07:49,759 --> 00:07:52,519 Speaker 3: I want to check this artist out, this album, so 177 00:07:52,920 --> 00:07:54,600 that in that sense it's great. 178 00:07:54,720 --> 00:07:57,279 Speaker 2: But you know, I don't know about the streaming. 179 00:07:56,839 --> 00:07:59,800 Speaker 3: As far as like royalties and stuff go for the artists, 180 00:08:00,000 --> 00:08:00,800 but I think that's all. 181 00:08:01,720 --> 00:08:03,319 Speaker 1: I've heard a lot about that as well, because there 182 00:08:03,480 --> 00:08:05,199 have been many times where I've talked with artists and 183 00:08:05,199 --> 00:08:06,720 I've said, do you want me to promote that you're 184 00:08:06,759 --> 00:08:11,199 on Spotify? And some would go, da, No, not really, 185 00:08:11,360 --> 00:08:13,720 not really, it's not worth what we're going to get 186 00:08:13,759 --> 00:08:16,040 as a return. And so so it's like, okay, so 187 00:08:16,079 --> 00:08:17,839 we're gonna we're going to look for other areas where 188 00:08:17,839 --> 00:08:19,680 we can plant that to where people can find it, 189 00:08:19,720 --> 00:08:21,560 where you guys are getting your bang. Which is the 190 00:08:21,600 --> 00:08:24,040 reason why I want to talk about the merch, because 191 00:08:24,120 --> 00:08:26,399 merch is where it's at, and if people aren't buying 192 00:08:26,439 --> 00:08:28,600 your merch, then how's my band supposed to come to 193 00:08:28,639 --> 00:08:29,360 my town. 194 00:08:29,160 --> 00:08:33,759 Speaker 3: Right, Yeah, yeah, I mean I I've also heard that 195 00:08:33,799 --> 00:08:36,519 merch is so important and and I don't know for 196 00:08:36,600 --> 00:08:38,320 me as an artist, I just love merch because I 197 00:08:38,360 --> 00:08:38,879 love being. 198 00:08:38,759 --> 00:08:39,840 Speaker 2: Creative and trying. 199 00:08:39,559 --> 00:08:42,320 Speaker 3: To get into the fashion and stuff like that. 200 00:08:42,360 --> 00:08:43,000 Speaker 2: I love all that. 201 00:08:43,120 --> 00:08:45,840 Speaker 3: But but yeah, you know, you got to you gotta 202 00:08:45,840 --> 00:08:47,720 get all the avenues as an artist. 203 00:08:48,159 --> 00:08:52,039 Speaker 1: Speaking of attractive things in songs, the keyboards in this 204 00:08:52,399 --> 00:08:55,720 really get my attention quickly. Was that the original idea 205 00:08:55,799 --> 00:08:57,639 or was it somebody in the band that said, hey, 206 00:08:57,639 --> 00:09:00,159 I got this idea. Everybody's sitting inside the room with 207 00:09:00,200 --> 00:09:02,519 the engineer and we go, let me just go in 208 00:09:02,559 --> 00:09:04,679 the room and drop down these keys real fast and 209 00:09:04,759 --> 00:09:07,000 let me see if that doesn't really bring something to it? 210 00:09:07,159 --> 00:09:07,399 Speaker 3: What? 211 00:09:07,399 --> 00:09:09,279 Speaker 1: What was What was the story behind the piano? 212 00:09:10,440 --> 00:09:10,679 Speaker 3: Right? 213 00:09:10,840 --> 00:09:14,039 Speaker 2: Okay, So our our keyboard player is George Mitchell. He's incredible. 214 00:09:14,480 --> 00:09:18,039 He's been on tourt Dana Ross forever. He's like her 215 00:09:18,080 --> 00:09:19,039 right hand man, you know. 216 00:09:19,960 --> 00:09:24,360 Speaker 3: But he so the way that women came about, in 217 00:09:24,399 --> 00:09:28,240 particular the guys. So I wasn't there with them when 218 00:09:28,240 --> 00:09:32,279 they recorded the song originally they and they were they 219 00:09:32,279 --> 00:09:35,600 were all together in the studio at Troy's house and 220 00:09:36,000 --> 00:09:38,200 they were just jamming out, and I guess the woman, 221 00:09:38,279 --> 00:09:42,519 you know, this Woman's song in particular, It really was 222 00:09:42,559 --> 00:09:44,600 like a one take kind of they were jamming out 223 00:09:44,600 --> 00:09:47,879 and it just naturally came out that way, you know, 224 00:09:48,720 --> 00:09:50,519 because all all the guys in the band are just 225 00:09:50,879 --> 00:09:55,759 monster musicians really, and so yeah, the keys are jamming, 226 00:09:55,919 --> 00:09:58,480 everyone's jamming on it. But from what I was told, 227 00:09:58,799 --> 00:10:01,159 it came up very organic, very quickly, and it was 228 00:10:01,240 --> 00:10:03,679 kind of just a one take, like, hey, let's jam out, 229 00:10:03,679 --> 00:10:04,960 and this is what we got. 230 00:10:05,440 --> 00:10:06,399 Speaker 2: And when I. 231 00:10:06,320 --> 00:10:09,919 Speaker 3: Heard the track, I just loved it, you know, because 232 00:10:09,960 --> 00:10:13,840 it's all bluesy and funky and fun and and the 233 00:10:13,960 --> 00:10:16,200 lyrics really just came quickly to me. You know, I 234 00:10:16,240 --> 00:10:20,559 can just hear the Woman's song and yeah, it just 235 00:10:20,639 --> 00:10:23,600 it just came really quickly and organically in that in 236 00:10:23,600 --> 00:10:24,440 that sense. 237 00:10:24,879 --> 00:10:28,600 Speaker 1: Is it because you you live by that word recognize, 238 00:10:28,799 --> 00:10:32,279 You recognize the power behind this song. Therefore you you 239 00:10:32,360 --> 00:10:35,399 anticipated to activate your love for this song. 240 00:10:36,960 --> 00:10:40,320 Speaker 3: I love that, you know, it wasn't that calculated, to 241 00:10:40,320 --> 00:10:45,240 be honest with your thought out the whole recognized catchphrase, 242 00:10:45,320 --> 00:10:48,039 you know, I kind of say it jokingly but not 243 00:10:48,320 --> 00:10:52,039 you know, me and my friends will use it like hey, recognize. 244 00:10:51,399 --> 00:10:55,519 Speaker 2: You know, and it's really about like just giving respect. Yeah. 245 00:10:55,559 --> 00:10:57,799 So with woman, like. 246 00:10:57,799 --> 00:11:01,039 Speaker 3: I said, you know, I from personally, I you know, 247 00:11:01,080 --> 00:11:02,799 I'm all about the girls. I want to empower the 248 00:11:02,840 --> 00:11:05,799 women of course, always like that is very much my personality. 249 00:11:06,200 --> 00:11:09,159 Speaker 2: And so when I heard the music and I just it. 250 00:11:09,240 --> 00:11:11,000 Speaker 3: Just started coming out, you know, and it was just 251 00:11:11,039 --> 00:11:19,519 a really fun, like empowering song and feeling and kind 252 00:11:19,559 --> 00:11:20,159 of tongue. 253 00:11:19,960 --> 00:11:22,039 Speaker 2: In cheek, tongue in cheek but kind of not at 254 00:11:22,039 --> 00:11:24,039 the same time. You know, I am being very serious 255 00:11:24,080 --> 00:11:26,519 about what I say, but also having fun with it. 256 00:11:27,000 --> 00:11:29,200 And so the whole recognized thing. 257 00:11:29,320 --> 00:11:31,159 Speaker 3: I just threw that in at the end, and again 258 00:11:31,200 --> 00:11:33,320 it was almost like a joke. But then we were like, 259 00:11:33,519 --> 00:11:36,240 let's keep it because this is just fun, you know. 260 00:11:36,320 --> 00:11:38,679 Speaker 1: No it's a hot word. No no, no, no, no, no, 261 00:11:38,720 --> 00:11:40,759 you know that could be part of your merch man. 262 00:11:40,879 --> 00:11:43,679 Oh my god, thank you. 263 00:11:44,440 --> 00:11:44,639 Speaker 3: Yeah. 264 00:11:44,639 --> 00:11:47,399 Speaker 2: I think I think it's going to be at some point. Yeah, 265 00:11:47,440 --> 00:11:47,879 for sure. 266 00:11:48,159 --> 00:11:49,799 Speaker 1: So what is it like for you though, Because I 267 00:11:49,799 --> 00:11:53,240 mean your guys's mantra is basically don't rely on record labels. 268 00:11:53,320 --> 00:11:55,120 And you know you're going to meet all those fans 269 00:11:55,159 --> 00:11:57,480 and those other people that, you know, the armchair quarterbacks 270 00:11:57,480 --> 00:11:59,039 of music there say well, you got to do this, 271 00:11:59,080 --> 00:12:00,679 you got to do this. You ever just look at 272 00:12:00,720 --> 00:12:02,320 them and just kind of giggle and want to slip 273 00:12:02,399 --> 00:12:05,240 off your shoes and say, walk at least twenty five 274 00:12:05,279 --> 00:12:06,679 feet in my shoes and get back to me. 275 00:12:08,519 --> 00:12:11,039 Speaker 3: Oh, you know, everyone is going to have an opinion, right, 276 00:12:11,279 --> 00:12:14,799 I'm sure with anything we do. But you know, I 277 00:12:14,799 --> 00:12:19,039 think it's just I think it's just about empowering yourself, 278 00:12:19,240 --> 00:12:22,039 you know, as an artist and as a bandon and 279 00:12:22,200 --> 00:12:24,799 just doing what you want to do. And I think 280 00:12:25,000 --> 00:12:27,519 taking with a grain of salt, you know, anyone that 281 00:12:27,600 --> 00:12:30,799 has anything to say, Like, I'm open to hearing people's right, 282 00:12:31,320 --> 00:12:35,720 you know, constructive stuff obviously, but at the end of 283 00:12:35,759 --> 00:12:37,759 the day, you got to trust your intuition. You got 284 00:12:37,759 --> 00:12:41,879 to trust yourself and just put out what feels. 285 00:12:41,519 --> 00:12:44,360 Speaker 2: Good to you. I think ultimately that's the that's the key. 286 00:12:44,759 --> 00:12:47,399 Speaker 1: How are the live crowds reacting to woman in the 287 00:12:47,440 --> 00:12:48,840 way that I mean, you knew what it was like 288 00:12:48,879 --> 00:12:51,600 to be inside that studio to drop those vocal tracks, 289 00:12:51,759 --> 00:12:54,879 and now when you drop them inside a live audience, 290 00:12:54,919 --> 00:12:57,080 it's like, what is it the same vibe? 291 00:12:58,759 --> 00:12:59,840 Speaker 2: Yeah, it's fun and. 292 00:13:00,039 --> 00:13:02,879 Speaker 3: We've actually, you know, our last show we closed with 293 00:13:02,919 --> 00:13:06,279 that song because it's just such a it's yeah, it's 294 00:13:06,320 --> 00:13:08,120 and it's such a fun song, and it also has 295 00:13:08,159 --> 00:13:11,360 a lot of room for the guys to have solos 296 00:13:11,399 --> 00:13:13,320 and just play around with it. Yeah. 297 00:13:13,440 --> 00:13:18,039 Speaker 2: So it was a very kind of just fun, empowering. 298 00:13:18,519 --> 00:13:20,519 Speaker 3: Uh, you know, we want to end on a high 299 00:13:20,559 --> 00:13:23,519 note and they leave people feeling good at the end 300 00:13:23,559 --> 00:13:25,840 of the show, you know, so it was kind of 301 00:13:25,840 --> 00:13:28,720 the perfect song to just round it out. And everyone's 302 00:13:28,720 --> 00:13:32,200 clapping and you know, I'm getting the women singing, so 303 00:13:32,879 --> 00:13:34,320 you know, it's a fun song. 304 00:13:34,559 --> 00:13:36,799 Speaker 1: Well it's to end the night with it, of course, 305 00:13:36,879 --> 00:13:39,440 not because I've experienced the song. So therefore it's like 306 00:13:39,519 --> 00:13:41,840 I'm going, wait a second, if that was the last song, 307 00:13:41,919 --> 00:13:44,279 I would still be that guy watching probably the roadies 308 00:13:44,320 --> 00:13:46,519 take the stage down, going they're coming out for one 309 00:13:46,559 --> 00:13:48,799 more song. I know they are. They're coming out here. 310 00:13:52,200 --> 00:13:54,399 Speaker 2: Well, I will definitely have one in my back pocket 311 00:13:54,480 --> 00:13:54,879 next time. 312 00:13:54,919 --> 00:13:57,840 Speaker 1: Oh you are, just come out there and you know, 313 00:13:57,960 --> 00:13:59,559 and and just sit on the edge of the stage 314 00:13:59,559 --> 00:14:02,039 like a Mickey Gilly or somebody like that, and just 315 00:14:02,080 --> 00:14:03,679 you know, just sit there and just sing to the people, 316 00:14:03,840 --> 00:14:06,440 you know, I mean, because because fans are what supports 317 00:14:06,559 --> 00:14:08,039 your system of growth, right. 318 00:14:09,360 --> 00:14:10,120 Speaker 2: Of course. 319 00:14:10,279 --> 00:14:13,240 Speaker 3: Yeah, I mean, you don't really have anything if you 320 00:14:13,240 --> 00:14:15,759 don't have you know, fans or listeners or some quarters. 321 00:14:15,919 --> 00:14:20,279 Speaker 2: So super important. Obviously, please do not move. 322 00:14:20,360 --> 00:14:23,679 Speaker 1: There's more with Jimmie Lynch from OG eight the Original 323 00:14:23,720 --> 00:14:28,039 eight coming up next. The name of the song is 324 00:14:28,240 --> 00:14:32,919 woman Woma and they're currently working on their second album. 325 00:14:33,240 --> 00:14:35,679 Let's get back into that conversation with Jimmy Lynch of 326 00:14:35,759 --> 00:14:38,440 OG eight. What about the studio now? Are we talking 327 00:14:38,480 --> 00:14:40,279 about that? It's in someone's room? In other words, it 328 00:14:40,279 --> 00:14:41,960 can be one of those who like, like, for instance, 329 00:14:41,960 --> 00:14:43,759 when people say, what is it like to go into 330 00:14:43,759 --> 00:14:46,519 the studio? I walk twelve feet? And they go, what 331 00:14:46,960 --> 00:14:49,639 I have to drive for hours? I walk twelve feet? Okay, 332 00:14:50,039 --> 00:14:51,159 So what about you guys? 333 00:14:52,360 --> 00:14:57,240 Speaker 3: Yeah, So, so we're really lucky because Joy Weliver, the guy, 334 00:14:57,399 --> 00:15:01,200 the guitarist who created the band, he has this wonderful 335 00:15:01,320 --> 00:15:05,080 studio set up in his home and so and he's 336 00:15:05,120 --> 00:15:06,799 you know, he's invested a lot into it. So that 337 00:15:06,919 --> 00:15:10,799 we could do this because we really love the whole 338 00:15:11,120 --> 00:15:15,000 home atmosphere vibe, you know, just to reach Hill. I 339 00:15:15,039 --> 00:15:17,240 feel like it kind of takes the pressure off as 340 00:15:17,240 --> 00:15:18,879 far as like we can go in there and just 341 00:15:18,919 --> 00:15:21,840 take our time and experiment and try different things, and 342 00:15:21,840 --> 00:15:23,600 so you're not on the clock, you know, at like 343 00:15:23,639 --> 00:15:26,080 a studio and I got to get this done. 344 00:15:25,879 --> 00:15:26,720 Speaker 2: In an hour, you know. 345 00:15:27,360 --> 00:15:30,679 Speaker 3: And for me it's been very freeing and you know, 346 00:15:30,840 --> 00:15:32,840 as a creative because I can go in there and 347 00:15:33,320 --> 00:15:34,240 and try different things. 348 00:15:34,240 --> 00:15:36,039 Speaker 2: Hey, let's try this way. Oh no, I didn't like that, 349 00:15:36,120 --> 00:15:38,919 Let's do it again. And you know, and. 350 00:15:39,120 --> 00:15:42,799 Speaker 3: We've really tried to keep it within that home studio 351 00:15:42,960 --> 00:15:46,399 because it has that family vibe, because it has that 352 00:15:46,639 --> 00:15:50,000 magic to it that just takes you know, it just 353 00:15:50,000 --> 00:15:51,840 just allows us to be free and creative. 354 00:15:52,200 --> 00:15:54,720 Speaker 1: Have you had a spinal tap moment inside that studio 355 00:15:54,799 --> 00:15:57,000 in the way that I remember I was impersonating car 356 00:15:57,039 --> 00:15:59,360 commercials and I was in there just grinding my vocal 357 00:15:59,399 --> 00:16:02,840 cords before singing. Blew it. They got paid. I didn't 358 00:16:02,879 --> 00:16:04,879 get to sing that day because I blew it. It 359 00:16:04,919 --> 00:16:06,159 was a spinal tap moment. 360 00:16:07,320 --> 00:16:09,320 Speaker 2: Oh no, what do you mean? You blew its? 361 00:16:10,039 --> 00:16:11,840 Speaker 1: Yeah. You sit there and you're going this car sale 362 00:16:11,919 --> 00:16:13,879 is going on right now. Now go sing a love song. 363 00:16:14,159 --> 00:16:16,320 You can't. You can't, Oh you can't. 364 00:16:16,360 --> 00:16:21,440 Speaker 3: Yeah, totally and yes, no, And actually I just came 365 00:16:21,519 --> 00:16:24,360 back yesterday from recording. We're in the studio right now 366 00:16:24,360 --> 00:16:28,879 recording our second album. And but to what you were saying, yes, 367 00:16:28,960 --> 00:16:31,480 so there's you know, certain songs that are softer, So 368 00:16:31,559 --> 00:16:34,759 I made sure I started with those, and then they're 369 00:16:34,840 --> 00:16:39,639 really hard rock, really hard rock song, which I'm very 370 00:16:39,639 --> 00:16:42,120 excited about. But but I'm you know, I'm up there 371 00:16:42,159 --> 00:16:44,879 like really belting and screaming my face off, and so 372 00:16:45,039 --> 00:16:48,039 I saved that to the end because obviously I don't 373 00:16:48,039 --> 00:16:48,960 want to blow out my voice. 374 00:16:49,039 --> 00:16:51,360 Speaker 1: But ye, yeah, yeah, because I'm always thinking about John 375 00:16:51,399 --> 00:16:53,279 Lennon when he did Twist and Shout and he said 376 00:16:53,320 --> 00:16:55,200 that was the hardest song for him to ever sing. 377 00:16:55,240 --> 00:16:57,639 But yet as listeners on this side, all these years later, 378 00:16:58,000 --> 00:17:01,080 I'm not hearing any struggling. He'll tell you differently. 379 00:17:00,600 --> 00:17:04,119 Speaker 3: Though, interesting and maybe it was where it was placed 380 00:17:04,160 --> 00:17:07,680 in his voice or his register, you know, souse. That 381 00:17:07,680 --> 00:17:10,920 can be difficult if it lands in a particular place. 382 00:17:11,079 --> 00:17:13,640 Speaker 1: I'm sure as you know, absolutely, and then healing time. 383 00:17:13,680 --> 00:17:15,400 My god, I mean there are I'm losing out on 384 00:17:15,440 --> 00:17:18,000 commercial money when I when I thrash my vocal cords. 385 00:17:19,440 --> 00:17:20,720 Speaker 2: Oh yeah, I can imagine. 386 00:17:20,960 --> 00:17:21,160 Speaker 3: Yep. 387 00:17:21,319 --> 00:17:24,960 Speaker 2: You gotta sometimes arrest it and just stop talking from. 388 00:17:25,359 --> 00:17:27,200 Speaker 1: What are you doing to keep those vocals nice and 389 00:17:27,319 --> 00:17:29,000 you know in tune? Because I mean you do you 390 00:17:29,039 --> 00:17:31,119 do exercise your voice and go in so many different 391 00:17:31,119 --> 00:17:32,960 directions with the music of OG eight. 392 00:17:34,480 --> 00:17:36,000 Speaker 2: Yeah, we're kind of all over the place. 393 00:17:36,079 --> 00:17:39,640 Speaker 3: And then you know, I write these like really crazy 394 00:17:39,759 --> 00:17:42,400 vocal songs. I'm like, what I write like this, But 395 00:17:43,079 --> 00:17:45,799 I love to just sult my face off and be crazy. 396 00:17:46,519 --> 00:17:49,559 Speaker 2: But to answer your question, yes, so I always when 397 00:17:49,559 --> 00:17:49,960 I'm in the. 398 00:17:49,880 --> 00:17:53,079 Speaker 3: Studio, I'm always drinking like room temp water never cold 399 00:17:53,200 --> 00:17:59,400 obviously tea with honey, you know, and just trying to 400 00:17:59,519 --> 00:18:02,279 get a lot of sleep and make sure I'm you know, 401 00:18:02,400 --> 00:18:03,799 doing what I need to do. 402 00:18:03,880 --> 00:18:06,000 Speaker 2: But nothing really more than that. You want to make 403 00:18:06,039 --> 00:18:07,200 sure you warm up really good? 404 00:18:07,440 --> 00:18:12,640 Speaker 3: Yes, yeah, and then you know, truthfully, I'll slip sip 405 00:18:12,680 --> 00:18:14,319 on a little bit of whiskey here and there if 406 00:18:14,359 --> 00:18:14,759 I need it. 407 00:18:16,519 --> 00:18:18,359 Speaker 1: No, I totally get yeah, because I mean a lot 408 00:18:18,400 --> 00:18:20,079 of a lot of these young adults. And this is 409 00:18:20,079 --> 00:18:22,160 not a judgment call, but but they'll they'll sit there 410 00:18:22,200 --> 00:18:23,759 and they'll think, I don't need to warm up, I 411 00:18:23,759 --> 00:18:26,119 don't need to do this, and you look at them, going, dude, 412 00:18:26,160 --> 00:18:28,039 that's that's going to hit you on a day that 413 00:18:28,079 --> 00:18:29,920 you're going to need it. And because you did not 414 00:18:30,039 --> 00:18:32,599 put that in your daily discipline, You're you're done. It's 415 00:18:32,640 --> 00:18:35,839 going to catch up to you too quickly, gotcha. 416 00:18:36,000 --> 00:18:37,920 Speaker 3: Yeah, I mean, it's definitely a muscle that you have 417 00:18:38,000 --> 00:18:40,160 to condition, you know, so if you're not using it 418 00:18:40,480 --> 00:18:41,680 all the time, you lose it. 419 00:18:41,759 --> 00:18:43,720 Speaker 2: You know, like working out, you got. 420 00:18:43,599 --> 00:18:46,240 Speaker 3: To build that muscle and get that get those repetitions 421 00:18:46,240 --> 00:18:47,119 and get that strength. 422 00:18:47,160 --> 00:18:49,960 Speaker 2: And you know, everyone's different. 423 00:18:50,440 --> 00:18:52,759 Speaker 1: Who in the band has got the job of having 424 00:18:52,759 --> 00:18:54,559 to keep the Internet up to date? Because that's what 425 00:18:54,599 --> 00:18:57,559 I love about today's musicians is the fact that everybody's 426 00:18:57,559 --> 00:18:59,160 got a job. It's not what they had in the 427 00:18:59,200 --> 00:19:01,319 seventies and eighties. Buddy, everybody's got a job. 428 00:19:02,880 --> 00:19:05,440 Speaker 2: Oh yes, So that would be Drew Kenny Lett. 429 00:19:05,480 --> 00:19:07,880 Speaker 3: He's our engineer and producer and so he's the guy 430 00:19:08,279 --> 00:19:10,599 I call him the Wizard, you know, because he's back 431 00:19:10,640 --> 00:19:14,559 there just you know, working all the gear and the 432 00:19:15,160 --> 00:19:18,160 computer and the mixing. And I don't even know how 433 00:19:18,200 --> 00:19:20,200 he does it, but he's so fast and it's so great. 434 00:19:21,119 --> 00:19:23,079 Speaker 2: But that would be him for sure. 435 00:19:23,240 --> 00:19:25,079 Speaker 1: Tell me you would not like to get behind his 436 00:19:25,160 --> 00:19:27,200 board sometime just for the fun of it. 437 00:19:28,799 --> 00:19:31,599 Speaker 3: If I knew, I knew what to do. Heck yeah, 438 00:19:31,599 --> 00:19:34,440 but I he has so many things going on. I 439 00:19:34,440 --> 00:19:35,680 don't even know where to begin that. 440 00:19:36,000 --> 00:19:38,480 Speaker 1: Yeah, that's the fun part, discovering it going. You mean 441 00:19:38,480 --> 00:19:41,400 this button does what are you kidding me? Really? 442 00:19:41,480 --> 00:19:45,920 Speaker 3: I thought, wow, yeah, completely, And you know I have 443 00:19:46,039 --> 00:19:49,200 like a little tiny home, very tiny home studio. I'm 444 00:19:49,240 --> 00:19:52,759 not a producer, but he means but trying to you know, 445 00:19:52,839 --> 00:19:54,400 do some on my own. And I'm like, wow, this 446 00:19:54,519 --> 00:19:57,400 is so so much to know and so much to do. 447 00:19:57,480 --> 00:19:59,119 Speaker 2: Is I have a. 448 00:19:58,559 --> 00:20:02,079 Speaker 3: Huge respect for but you know, producers and engineers do 449 00:20:02,200 --> 00:20:03,079 back there well. 450 00:20:03,119 --> 00:20:04,720 Speaker 1: To me, it's it's like when you're sitting there, how 451 00:20:04,759 --> 00:20:07,200 does that guy that's playing the guitar sing. That's two 452 00:20:07,200 --> 00:20:09,079 different things at the same time. I don't get them 453 00:20:09,079 --> 00:20:11,720 in We're gonna do this differently, We're gonna break it up. 454 00:20:13,240 --> 00:20:13,680 Speaker 2: Totally. 455 00:20:13,759 --> 00:20:16,240 Speaker 3: I Yeah, I don't know how someone can sit there 456 00:20:16,279 --> 00:20:18,000 and sing and play and do all the things or 457 00:20:18,279 --> 00:20:19,200 play drums and sing. 458 00:20:19,279 --> 00:20:20,599 Speaker 2: It's I don't get wild. 459 00:20:20,759 --> 00:20:23,839 Speaker 1: Yeah, I yeah get that. Wow. So what's going on 460 00:20:23,839 --> 00:20:25,440 on the road. Are you guys going to go out 461 00:20:25,440 --> 00:20:27,640 this spring? What's what's happening so the people can get 462 00:20:27,680 --> 00:20:28,200 ready for you? 463 00:20:29,559 --> 00:20:29,880 Speaker 2: Yeah? 464 00:20:29,920 --> 00:20:31,680 Speaker 3: So we are, Like I said, we are in the 465 00:20:31,680 --> 00:20:34,920 studio right now trying to finalize the second album, but 466 00:20:35,119 --> 00:20:42,720 we're gearing up think around June May or June. Our 467 00:20:42,759 --> 00:20:46,319 team is actively working behind the scenes right now and 468 00:20:46,640 --> 00:20:48,720 you know, setting up some shows and stuff like that. 469 00:20:48,920 --> 00:20:51,839 So I don't have a specific date to give you yet, 470 00:20:51,920 --> 00:20:54,160 but we are gearing up for sure for the summer. 471 00:20:54,440 --> 00:20:56,440 Speaker 1: The one thing that I've learned from every comedian that 472 00:20:56,480 --> 00:20:58,640 I share a conversation with, and that is is that 473 00:20:58,640 --> 00:21:01,519 that moment before you hit that everybody hits the bathroom. 474 00:21:01,680 --> 00:21:04,119 And I've always believed it's because you need that one 475 00:21:04,200 --> 00:21:07,000 more look in the mirror. Who do you see in 476 00:21:07,079 --> 00:21:08,759 that mirror before you hit that stage. 477 00:21:10,440 --> 00:21:12,240 Speaker 2: Oh, that's interesting that you say that. 478 00:21:12,640 --> 00:21:15,400 Speaker 3: I'm laughing at the bathroom comment, because of course that's 479 00:21:15,440 --> 00:21:18,279 so true and for me, I feel like I get 480 00:21:18,279 --> 00:21:21,319 nervous and I feel like I need to use the restroom, 481 00:21:20,240 --> 00:21:26,200 but I don't. I make sure I'm on that stage. So, 482 00:21:27,039 --> 00:21:29,920 you know, for me personally, I can only speak for myself. 483 00:21:29,960 --> 00:21:33,119 But before I'm getting on that stage, I just try 484 00:21:33,160 --> 00:21:36,680 to really get out of my head and just into 485 00:21:36,680 --> 00:21:39,960 my body and just trust my voice and the trust 486 00:21:40,000 --> 00:21:42,920 the process, you know, because I found that if I'm 487 00:21:42,960 --> 00:21:45,000 too much in my head about it, like oh, what 488 00:21:45,039 --> 00:21:45,640 are my lyrics? 489 00:21:45,640 --> 00:21:46,160 Speaker 2: One of my feet? 490 00:21:46,440 --> 00:21:48,680 Speaker 3: You know, I'll freak myself out and that's when I'll 491 00:21:48,680 --> 00:21:52,079 mess up. So when I find myself kind of spiraling 492 00:21:52,119 --> 00:21:54,240 out a little bit, I just say, okay, stop it, 493 00:21:54,839 --> 00:21:56,440 get in your body, trust. 494 00:21:56,200 --> 00:21:59,039 Speaker 2: Yourself, just go because you know what you're doing, you know. 495 00:21:59,079 --> 00:22:00,720 And then you just get on stage and you just 496 00:22:00,759 --> 00:22:02,720 don't think. You just have to trust your body and 497 00:22:04,279 --> 00:22:05,880 just let loose, you know. 498 00:22:06,200 --> 00:22:08,400 Speaker 1: Is there a celebration food after the show? My wife 499 00:22:08,440 --> 00:22:09,880 and I always hit Taco. 500 00:22:09,640 --> 00:22:19,160 Speaker 2: Bell That's the perfect spot. Yeah, sometimes not the greatest, 501 00:22:19,319 --> 00:22:21,440 but of course. Yeah. 502 00:22:21,559 --> 00:22:24,039 Speaker 3: Usually after show you're hungry and oh, you know, I 503 00:22:24,079 --> 00:22:26,960 want to wind down, have some food, maybe a drink, 504 00:22:27,039 --> 00:22:28,119 you know, hang out a little bit. 505 00:22:28,240 --> 00:22:30,240 Speaker 1: Yeah, yeah, to kind of get back into that mode. 506 00:22:30,240 --> 00:22:32,200 You going, oh, that's right, I'm a regular person. Oh 507 00:22:32,319 --> 00:22:34,799 that Oh wow, I totally forgot that. This is what 508 00:22:34,839 --> 00:22:38,359 I do just for the fun of it. Oh okay, yeah. 509 00:22:38,400 --> 00:22:41,440 Speaker 3: And you know, there's so much of an energy exchange 510 00:22:41,720 --> 00:22:45,519 during a show, and so it's very physical and when 511 00:22:45,559 --> 00:22:47,319 you come off stage, it's like you kind of just 512 00:22:47,359 --> 00:22:51,039 need that that breath of just like wind down and 513 00:22:51,119 --> 00:22:52,400 chill out for a minute, you know. 514 00:22:53,039 --> 00:22:54,880 Speaker 1: Well, see, that's the reason why I like to put 515 00:22:54,920 --> 00:22:57,279 away the equipment because it gives me that chance to 516 00:22:57,319 --> 00:23:00,440 put everything away and you're playing everything all over again 517 00:23:00,480 --> 00:23:02,599 inside your head, but it doesn't matter. You're putting your 518 00:23:02,599 --> 00:23:04,839 toys away because that's what your dad told you to do, 519 00:23:04,960 --> 00:23:06,559 so it'll be there the next time you open up 520 00:23:06,599 --> 00:23:07,119 that box. 521 00:23:08,119 --> 00:23:11,799 Speaker 2: That's right, exactly. Yeah, and what a great time to 522 00:23:11,880 --> 00:23:12,119 do that. 523 00:23:12,400 --> 00:23:15,680 Speaker 1: Yeah right, Okay. Where can people go to find out 524 00:23:15,720 --> 00:23:18,440 more about you, Jamie? Because I want them to find you, 525 00:23:18,599 --> 00:23:20,960 follow you and put you on their list. 526 00:23:21,599 --> 00:23:23,720 Speaker 2: Oh, thank you so much. Yeah. 527 00:23:23,759 --> 00:23:28,880 Speaker 3: So you can go to our website www. Original Eightofficial 528 00:23:28,960 --> 00:23:32,599 dot com and everything is linked on our website, so 529 00:23:32,640 --> 00:23:34,759 you can find all of our socials, you can find 530 00:23:34,839 --> 00:23:38,079 all of my socials. You know, every band member their 531 00:23:38,160 --> 00:23:40,559 bio like everything you can find out about the band, 532 00:23:41,240 --> 00:23:44,279 but you can also find us on whatever. You know, 533 00:23:44,319 --> 00:23:47,839 your favorite streaming platform is under Original eight and I 534 00:23:47,880 --> 00:23:49,200 believe OG eight as well. 535 00:23:50,319 --> 00:23:51,880 Speaker 2: And then of course social media. 536 00:23:51,960 --> 00:23:57,720 Speaker 3: We have Facebook, Instagram and TikTok and YouTube and most 537 00:23:57,759 --> 00:23:59,160 of those are ogate official. 538 00:23:59,799 --> 00:24:03,440 Speaker 2: In Instagram is og eight underscore Original eight. 539 00:24:04,279 --> 00:24:07,279 Speaker 1: Wow, you just sent me back about fifty sixty years 540 00:24:07,279 --> 00:24:09,319 to when you were talking about the every place that 541 00:24:09,359 --> 00:24:11,559 you are with social media, because you know, we've all 542 00:24:11,599 --> 00:24:14,000 seen the movies of the Patsy Klines of the World 543 00:24:14,079 --> 00:24:15,839 and the Loretta Lynz where they had to go from 544 00:24:15,920 --> 00:24:18,519 radio station to radio station. Now look at what you 545 00:24:18,559 --> 00:24:20,960 have for a platform. It's like, Okay, where am I not? 546 00:24:21,200 --> 00:24:23,640 Because I will be there if you give me ten minutes. 547 00:24:24,720 --> 00:24:26,519 Speaker 2: Yeah, and that's that again. 548 00:24:26,559 --> 00:24:29,400 Speaker 3: That's what's so amazing about the technology, right, is that 549 00:24:29,440 --> 00:24:32,440 we're able to connect like this or connect you know, 550 00:24:33,480 --> 00:24:35,759 someone can go and find you on social media, whereas 551 00:24:35,759 --> 00:24:38,680 back in the day, you know, there was very limited 552 00:24:38,799 --> 00:24:40,880 ways to connect with an artist or a band. 553 00:24:41,039 --> 00:24:43,720 Speaker 2: So in that regard, I think it's it's awesome. 554 00:24:43,920 --> 00:24:46,000 Speaker 1: Wow, you've got to come back to this show anytime 555 00:24:46,000 --> 00:24:48,559 in the future, especially when you drop that that new 556 00:24:48,720 --> 00:24:51,480 next album number two. And the reason why is because 557 00:24:51,519 --> 00:24:54,200 I like to break music down and if your heart's 558 00:24:54,240 --> 00:24:55,640 open for it, I mean, that's how I get to 559 00:24:55,680 --> 00:24:57,319 know more about the music. I get to know more 560 00:24:57,359 --> 00:25:00,359 about the band, who did what in the song. That's 561 00:25:00,400 --> 00:25:02,599 part of the love for the music of a band. 562 00:25:04,079 --> 00:25:06,440 Speaker 2: Absolutely, I would love to come back. Thank you so much. 563 00:25:06,400 --> 00:25:07,960 I'd be honored to come back, of course. 564 00:25:08,160 --> 00:25:10,000 Speaker 1: Excellent. Will you be brilliant today? 565 00:25:10,000 --> 00:25:14,200 Speaker 2: Okay, I will try my best. You two and have 566 00:25:14,240 --> 00:25:16,039 a wonderful day. And thank you so much Ero for 567 00:25:16,119 --> 00:25:16,480 having me.